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J A N U A R Y 1972
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A P U G MILL t o fit a n y r e q u i r e m e n t ,
MODEL
A
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T h e t i m e saved in w o r k i n g the clay can be
d e v o t e d to m o r e creativity.
All q u a l i t y c o n s t r u c t e d f o r y e a r s of service.
O u r catalog d e s c r i b e s details and s h o w s
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SMALl. HORIZONTAL PUG MI
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January 1972
3
A NEW PRODUCT
UNDERGLAZE
PENCIl
A m a c o is happy to a n n o u n c e the latest addition to its f a m i l y
of underglaze d e c o r a t i n g p r o d u c t s - t h e black A m a c o Underglaze Pencil.
W e i g h i n g less than one o u n c e and e x a c t l y seven inches long,
the A m a c o Underglaze Pencil c o m p l i m e n t s o u r e x i s t i n g underglaze products; A m a c o U n d e r g l a z e Crayons, Liquid, and SemiMoist U n d e r g l a z e Colors. Use o u r new pencil to
:
create u n i q u e d e c o r a t i o n on bisque or for identification purposes. You get y o u r c h o i c e of the
finest u n d e r g l a z e d e c o r a t i n g media f r o m Amaco.
.
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:'"-L-::,:,--,::-.:'
--
:,::.-,v
Order f r o m y o u r local Amaco dealers a n d / o r
. . I - ~ .........
::-:: : ......
write us for Ceramic
~'
and Metal Enameling
Cata-
log No. 56.
gigilGO"
1
~( A m e r i c a n Art, Clay Co., Inc., 4717 W. 16th Street
PINK
LOOK W H A T THOMPSON
OFFERS YOU! ,
~
I ~ ,-I ; ,-~ ,-, ,-~ ~ ,-, I ; ~,
I ~H
i,'~ n ~
Now Represented In
CANADA
Variable Speed
POTTER'S WHEELS
Would you believe that all of the items pictured above can be
yours . . . and get you started enameling . . . for only $49.50?
Yes, that's correct, Thompson's catalog introduces a new
package consisting of an electric kiln (inside dimensions - 5" wide, 7" deep, 4" high) and including a CAREFULLY
SELECTED group of enamels, metal shapes and supplies . . .
everything you need to start enameling immediately . . .
for only $49.50, plus shipping charges. Send your order today with payment for prompt shipment.
The new Thompson catalog, along with its famous Color Guide,
is waiting for you . . . just mall the coupon and it will be on its
way . . . absolutely FREE.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Thomas C. Thompson Co.
Dept. C M 1 ~ 1539 Old D e e r f i e l d Road
H i g h l a n d Park, Illinois 6 0 0 3 5
[ ] Enclosed is payment for new kiln package.
(Illinois residents add 5~/o sales tax.}
[ ] Please rush FREE Thompson Catalog.
Name.
4
Ceramics Monthly
Model RK-2
A L L MODELS C.S.A. APPROVED
Exclusive Importer and Distributor
HIRO
Addm$
Cify.
~
Sk:'l'e
Zip.
518 B E A T T Y
DISTRtBUTORS L,d.
ST.
VANCOUVER
3, B.C.
Create & Grow
M
Volume
20, Number
0
1
N
T
H
LY
January
1972
L e t t e r s to the E d i t o r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
A n s w e r s to Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9
Itinerary ..........................................
11
Cone 6 Reduction Glazes by R i c h a r d B e h r e n s . . . . . . . . . . . .
12
I t a l i a n Majolica P l a t e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
P o t t e r y in Manesis b y T o m and Y v o n n e S h a r e r . . . . . . . .
14
The Majolica T e c h n i q u e for S t o n e w a r e
b y Angelo C. Garzio . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
Ceramics instructors: Les Lawrence and Carol Lebeck
in ceramics with a unique new wheel
that utilizes these features:
• Rugged steel construction
• Powerful enough to center 35 pounds of clay
• Off-center head provides for excellent accessibility
• Infinitely variable (0-250 RPM) electronic speed
control is of the sophisticated feed-back type
• Foot pedal requires only light pressure to change
speeds; will remain at any setting
when foot is removed
• Carries full guarantee and warranty
Making D o u b l e - S p o u t e d P o t s on t h e W h e e l
b y B e n n i e Lee a n d Don Lewis . . . . . . . . . . . . . . . . . . . .
23
A d a i r P l a q u e s A d o r n New Rockford L i b r a r y . . . . . . . . . .
26
Some Glaze F a u l t s and T h e i r C o r r e c t i o n
by Richard Behrens .............................
28
All this and more for only $165.00. This low price is
possible because of dealing directly with the
manufacturer, not middlemen.
CeramActivities
32
For complete information write:
38
CA
.....................................
I n d e x to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
On Our Cover
Creative Industries, P.O. Box 343, La Mesa, Ca. 92041
The two-handled albarello is one of the earliest examples of
Italian majolica exhibiting an independence from Spanish ware
that influenced it. The handsomely-decorated earthenware container pictured, probably made for use in an apothecary shop in
the 15th century, is from the collection of the Cleveland Museum
of Art and formed part of an exhibition, "Florence and the Arts:
Five Centuries of Patronage," which was on view during the
summer. In this issue of CM, majolica articles by Angelo Gar'zio
and Tom and Yvonne Sharer explore and contrast facets of new
and old in reference to this illustrious in-glaze decorating art.
Photo: Courtesy, Cleveland Museum of Art.
ANNOUNCINGA NEW CM HANDBOOK
GLAZEPROJECTS
A FORMULARY
OF LEADLESSGLAZES
by Richard Behrens
Editor: THOMAS SELLERS
Assistant Editor: FRANCES SAWYER
Art Director: RomxRx L. CREAGER
Circulation Manager: MARY RUSHLEY
Advertising Manager: CONNIB BELCrlER
Publisher: SvENcEa L. DAVIS
Advisers and Special Contributors: F. 'Carlton Ball, Richard
Behrens, Kathe Berl, Edris Eckhardt, Zena Holst, John Kenny,
Karl Martz, Ken Smith, Helen Worrall, Don Wood.
Western Advertising Representative: Joseph Mervlsh Associates,
4721 Laurel Canyon, Suite 211, North Hollywood, California
91607. Telephone: T R 7-7556, Area Code 213.
Copyright 1972 Professional Publications, Inc.
Ceramics Monthly J a n u a r y 1972, Vol. 20 - - No. 1. Published monthly
except July and August by Professional Publications, Inc. - - S. L. Davis,
Pres., P. S. Emery, See.; a t 1609 Northwest Blvd., Columbus, Ohio 43212.
Correspondence concerning subscriptions, renewals, and change of address
should be addressed to the Circulation Department, Ceramics Monthly,
Box 4548, Columbus, Ohio 43212. Second Class postage paid at Athens,
Ohio. U.S.A. Subscriptions: One year $6; Two years $10; Three years $14.
Copyright 1972. All rights reserved.
The articles in each issue of Ceramics Monthly are indexed in the A r t
Index and The Readers' Guide to Periodical Literature. Microfilm
copies a r e available to subscribers from University Microfilms, 313
N. First St., A n n Arbor, Michigan. Manuscripts and illustrations dealing
with ceramic a r t activities a r e welcome and will be considered for publication. Manuscript8 should be typed double-spaced and r a n g e from 500
to 2OO0 words. Send manuscripts and correspondence about t h e m to the
FAlter, Ceramics Monthly, Box 4548, Columbus, Ohio 43212.
For those who llke to experiment in glaze making, this handbook
will be invaluable. GLAZE PROJECTS is a very readable text,
and the informal treatment of the subject matter is an aid to
understanding more about the nature of glazes and glaze making.
Th;s exciting new handbook was compiled using a selection of
articles by Mr. Behrens that appeared in Ceramics Monthly and
a group of projects the author prepared specifically for this book.
Included is a unique glossary of materials which the potter will
find to be an excellent reference source.
The first book of ~ts kind, GLAZE PROJECTS provides an authoritative and convenient source of information for the potter on
the formulation and application of a variety of ]eadless glazes
in all firing ranges. Price: only $3 a copy.
CERAMICS MONTHLY Book Department
Box 4548, Columbus, Oh;o 43212
Please send me ~
copies of GLAZE PROJECTS @ $3.00.
I enclose [ ] Check [ ] M.O. [Ohlo: 4% Sales Tax} We pay postage.
Name
Address_
CHy.
State
m
m m
~mm
mum
i
m
Zip.
m
m
m
i
m
m m
imam
January 1972 5
or The Discriminating Ceramist
Fire immense loads daily
This enormous 10 sided kiln is 27" deep and 23~" in diameter for a full 7
cub|c feet of firing capacity. Fast firing and fast cooling allows you to fire
immense loads daily. The three movable sections have their own 4-way switches
and pilot lights. Use the three sections to fire your tallest lamps or top and
bottom sections for many small pieces. Fires to cone 6 - 2300°, everything
from china points to porcelain. Add a 41h" blank collar for full 311/2" depth.
EXCI.USlVE! INCH OF BLOCK INSULATION IN UD AND BOTTOM
0
~
FREE.. crating., instruction manual
steel stand.
IN STAINLESS STEEL
Model A-99B ......
$399.50
41/2" blank collar, $32.00
All slze Kilns available
to f i l l e v e r y f i r i n g n e e d
/
/
\
Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to
~ ) ~
. ~ ~ ,
9JIIC.. Dept. CM Box 10133, Dallas, Texas 75207
NEW LOW PRICE: $4.95
T H A N K S TO P R O D U C T I O N S A V I N G S
O N OUR SECOND EDITION!
Do you wish you could QUICKLY AND EASILY create a glaze or
modify an existing formula ta achieve a new effect? This nine-inch
circular calculator allows the craftsman to convert back and
forth between molecular and batch formulas without becoming
Involved in complicated arithmetical calculations. Accompanied by
a 26-page "Guide to Designing Glazes."
TOO GOOD TO BE TRUE? MONEY REFUNDEDIF NOT SATISFIED
DIAL-A-GLAZE, Box 88, Davenport, Calif. 95017
Please send [] copies of DIAL-A-GLAZE CALCULATOR
I enclose $4.95
[] Check
[3 Money Order
Name.
Addres~
City
State
Zip
Add 20c Sales Tax in California. Add S0c if paid in Canadian
funds. DEALER INQUIRIES INVITED.
6
Ceramics Monthly
S
CERAI I¢S 4:,SUI:'PLLES
kEFER. t EI .BOR.N
LETTERS
NANCY BALDWIN'S BIRD FEEDERS
I really enjoyed reading the experiences
Nancy Baldwin recorded in her article on
bird feeders in the October 1971 issue of
CM. Here is a potter who not only is
developing some original work and obviously enjoying every moment of her work
with clay and fire, but also is a rare
example of an artist-craftsman who respects the plastic character of clay and
has the skill or artistry--call it what you
will--to capture it in enduring stoneware!
I'd like to see more and read more by this
potter.
M. L. Kirby
Muneie, Ind.
look forward to an article every issue.
Even though you say you also favor
enameling, I find it hard to believe, since
the articles are "usually" one page. The
past few issues had none at all. I want
to see articles like the ones on p o t t e r y - 3 or 4 pages every issue. To show you I
mean it, I'm enclosing a check for my
renewal for three more years. Now, I'm
sure my fellow enamelists agree with me.
G. Robin
Hicksville, N.Y.
COMMENTS
Your magazine is very interesting. I
would like to see much more on reduction
firing, glazes, clay and procedure for same.
The potter and his work is now widespread enough to justify your magazine and
let the hobby people go their own way.
The new covers are great--especially
for filing. A big month and year in the
upper left corner makes finding the correct one a cinch.
S. Parker
Nashville, Tenn.
We were delighted to see the article on
Nancy Baldwin's bird feeders, since we
purchased one of these last year and have
been delighted with it from both practical
and visual standpoints. From her story,
we think we have been lucky not to have
,x resident squirrel!
Mrs. ]. ]. Morland
Newark, N.J.
• . . especially enjoyed article on bird
feeders.
]ane Diver
Chicago, Ill.
INTRODUCTION TO BRITISH CERAMICS
My husband and I, who are beginning
potters, would like to express our great
appreciation for your contribution to
wonderful experience. Your articles on
some British potters (which we hope you
will continue), and your mention of the
publication on "Country Workshops in
Britain," led us recently to include visits
to various potters and potteries as part of
our British vacation. Everyone we visited
was most gracious, and we were able to
see many varied techniques and products.
These visits, combined with trips to ceramic sections in museums and ceramics
sales centers, gave us a very satisfying,
exciting experience, and a greater understanding of the whole field. Just getting
to see Leach at work, and find work
produced by Lucie Rie, Hans Coper and
William Marshall was a delight. St. Ives,
Penzance, Winchcombe, Prinknash Abbey,
and the Percival David Foundation Museum of London University are all places
we would highly recommend to your
readers. Mr. and Mrs. Charles Henderson
Midland, Texas
OUR READERS WANT
• . . articles on individual artists (in
ceramics) and their techniques and special
projects.
Mrs. Paul Weekes
Wallingford, Conn.
Continue giving good examples of the
possibilities in handbuilding with limited
equipment.
]ohn White
Huntsville, Ala.
ING'S POSSIBLE...
Wlll4 AMO[)F_LCXC -" ONEHI?,AI~BOLLffgl-WNON-.-.-.-.-.-.-.-.-.-~LIPPOLWI=LE~ I~ELTDRIVF_..
FOUIZ(T_P_KI INCI-1¼EAD • -11412Eg_.BT'OF/NLL t:~65|t~I-E BqtNGS....~EEO~EAT
h-souP. LOC•AL CIz[:~-,AN~,IC.BUPPLW OR WRITE FOP. A FR,~ EBROCHUg~.E.
NVkKF=_ ~
VA-IF=~_L,~ A T [~-_ITKI~ PP.ICE5
tzol l b_~.5 w~4~z t ~
This letter, even though it's my first
one, is to let you know that I enjoy your
magazine. I am an enamelist and really
] a n u a r y 1972
7
Often
imitated
never duplicated
For quality
originality
durability
VELVA-GLO BISQUE STAINS
•
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35 WATER BASE OPAQUE STAINS
24 PETROLEUM BASE TRANSLUCENT STAINS
12 LUSTER-ETTES (metallic dusting powders)
LUSTER-ETTE MEDIA
4 GLITTER DUSTS (coarser metallic powders)
3 WATER BASE BRUSH-ON FIXATIVES
2 GRADES PEARL FLAKES (an actual shell chip)
2 GRADES GROG (can be fired, also mixed
with clay or fired ceramic colors)
KRYSTAL SAND (a fine glass bead)
TEXTURETTE (build up powder)
TRANSETTE SOLVENT (for thinning and cleaning translucents)
ANTIQUING CLOTHS
HAND AND BRUSH CLEANER
GLU-IT (fast drying clear glue)
VARNETTE (fast drying clear varnish coating)
PRIMETTE (a metal primer coating)
TECHNIQUE and DESIGN BOOKS
You can have TWO good WOOD Wheels for
the price of only ONE good STEEL WHEEL
A WOOD WHEEL can:
• Be made at much less cost than a steel wheel • Have
the advantage sought for in a steel wheel (endurance, reliB: available ;n KIT packages
•
ability, precision, etc.}
Be aesthetically wooden
which anyone can assemble
Denver's most popular wheel, THE WILLIS
WHEEL, is now being offered nationally at
WHOLESALE PRICES (from factory, with
loving care, fo you).
$75.00
METAL KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14" AI.M.g throwing head; 281/2" too] steel keyed shaft; 14"
steel pulley with bushing; and two heavy duty, steel, p~llowblock bearings. (NOTE: These components cost over $150 at
retail.)
$50.00
WOOD KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Design-cut parts, bolts, and mold for 150 lb. flywheel ready for
assembly.
$110.00
COMPLETE WHEEL KIT . . . . . . . . . . . . . . . . . . . . . .
$175.00
ASSEMBLED WHEEL . . . . . . . . . . . . . . . . . . . . . . . . .
With or without weighted flywheel. Please specify m it weighs
150 Ibs.
$100.00
MOTORIZING KIT . . . . . . . . . . . . . . . . . . . . . . . . . . .
3~ hp totally enclosed, explosion-proof motor: clutching assembly; sw;tchlng assembly; and mounting assembly. 0 to 350 rpm.
(Note: Again, a savings under retail of over STO0.O0)
Freight charges are COD. Prices quoted above do not include
Federal, S~ate or local taxes, and are subject to change without
notice. Lot prices are available. Send at least 60% of our quoted
price per order. Brochures are available for 25c.
WMS POTTER WHEELS
The Barn
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Tele.~hone (303) 279-3833
REWARD
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An EXCEPTIONALMEDIA for use on CERAMIC
BISQUE,WOOD,METAL,FABRICor PLASTER
Distributorships and Dealerships available. For infor.
maflon w r i t e on y o u r business letterhead to:
I••ERAMIC
ART, Inc.
Dept. CM 250, 109 Monarch Dr., Liverpool, N.Y. 13088
Reward Ceramic Color Mfrs., Inc.
314 Hammonds Ferry Rd., Glen Burnie, Maryland 21061
8
Ceramics Monthly
Answers to
QUESTIONS
C o n d u c t e d by the C M T e c h n i c a l Sta[/
ls it possible to obtain the iron flecked results usually seen
on stoneware in the earthenware range; if so, how? - - M . K .
A dark-flecked appearance could be obtained in a light-firing
low-fire body by wedging into it some coarse-ground manganese
dioxide. Using light color glazes would further enhance the
iron-flecked appearance.
In the December, 1967 issue o/ CM there is an article on
"'Glazes by Cup and Spoon." Nowhere in the article does
it mention adding water to any o[ the [ormulas. I am an
amateur potter trying for my first time to mix my own glazes.
I would greatly appreciate any help and~or information regarding the above. I wait in great anticipation each month for my
Ceramics Monthly.
--]. L. H.
It is impossible to come up with a specific answer here, as
the amount of water that must be added to a dry glaze batch
depends on several factors. If the water is added to the glaze
and this is simply stirred to mix, less water will be needed; if
the glaze is screened or ball milled, it will need much more
water since the particle sizes of different material will be broken
down and absorb more liquid. Materials used in the glaze affect
the amount of water also; fritted glazes require less water, while
high-fire glazes which contain much colemanite or clay need
more. The consistency at which the glaze is used also must be
considered when water is added, as a glaze that is brushed
should be thicker than one which is used for dipping or pouring.
It is obvious that each glaze will need individual attention in
this matter of adding water to bring it to a medium cream consistency, which is the stage most used by potters.
It is a good idea to start off with about 60% of water, then
add the dry ingredients, let this set, allowing the dry glaze batch
to absorb some of the water, stir, and then put this through
a 60-mesh screen, then add more water slowly if it is needed
to bring the glaze to the correct consistency. Many glazes use
about 100% water, some will take more and others less. It is
a good idea to make a notation of the amount of water needed
for any particular glaze in order to save this experimenting time
when another batch is needed.
Many potters prefer to add water from a glass graduate, the
type used in laboratory work; the graduate is marked off to
record cubic centimeters. Since one cc of water weighs one gram,
a glaze that requires 100% water will need 100 cc's of water
for each 100 grams of dry materials; a 300 gram batch of dry
glaze will require 300 cc's of water.
If, accidentally, a glaze is made too thin, it can be allowed to
stand uncovered until some of the excess water evaporates; or the
glaze may be allowed to settle until excess water can be poured
or siphoned from the top.
All subscriber inquiries are given individual attention at CM;
and, out of the many received, those of general interest are
selected for answer in this column. Direct your inquiries to
the Questions Editor, CM, Box 4548, Columbus, Ohio 43212.
Please enclose a stamped, self-addressed envelope.
Fake t h e h i g h
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9
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Choose the s a f e enamels, w r i t e :
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l0
Ceramics Monthly
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New York Salesroom
I
Mail Orders and Correspondence
215 Park Avenue • Hioksville, N.Y. 11801 I 22 West 48 Street • N. Y., N.Y. 10036
Phone: (212) 895-0686
Phone(516)433-1660 & (212) 895.0686
ITINE RARY
Send your show announcements early:
"'Where to Show," three months ahead
o[ entry date; "'Where to Go," at least
dx weeks belore the opening.
WHERE TO SHOW
CALIFORNIA, SACRAI~IENTO
February 4-13 The Ninth Annual Sacramento Religious Arts Festival includes
crafts. Jury; Fee; Awards; Limit, one
entry; Entries due January 21-22. For information, write : St. John's Lutheran
Church, 17th and L. Streets, Sacramento.
Holdsworth, Copper Development Association, Box 2809, Grand Central Station,
New York, New York.
NEW
write: Art Division, Rochester Festival of
Religious Arts, 50 N. Plymouth Ave.,
Rochester 14614.
SPECIAL FOR HOBBYISTS
YORK, ROCHESTER
April 16-26 The Rochester Festival of
Religious Arts is open to all artists and
craftsmen. Media include sculpture and
enamels. Jurors: Richard Arnold, Robert
Johnson, Harris K. Prior. Awards. Entry
deadline: March 18. For information,
OREGON, PORTLAND
March 24-26 The 13th Annual Show
of the Oregon Ceramic Association will be
held in the Multnomah County Exposition
Continued on Page 31
I NDIANA~ EVANSVILLE
February 13-March 12 The Twelfth
Annual 1972 Mid-States Craft Exhibition
is open to craftsmen living within a 200mile radius of Evansville. Media include
ceramics, enamels and glass. Fee; Purchase and merit awards; Entries due
January 13-23. For information, write:
Craft Committee, Evansville Museum of
Arts and Science, 411 S. E. Riverside
Drive, Evansville 47713.
IOWA, IOWA CITY
April 5-26 "Student Clay Today," a
national juried exhibition, is open to all
artists over 18 years of age who are presently students of ceramic and clay in a
college or university. Deadline for slides,
January. 21. Entry fee: $5.00 for up to
5 pieces. For information, write: "Student
Clay Today," Museum of Art, U. of Iowa,
Iowa City.
/
ee
KENTUCKY, ANCHORAGE
April 3-30 The Third Biennial for
Crafts is open to all artists residing in the
states of Illinois, Indiana, Kentucky, Ohio,
Missouri, Tennessee, and Virginia. Entry
fee; Purchase and merit awards; Deadline
for entries, March 24. For information,
write: Jack GaskiII, Louisville School of
Art, I00 Park Road, Anchorage.
",,? % -
. . . . ,. ,,
MASSACHUSET TS, BROCKTON
April 13-May 21 "Things," a major
juried exhibition of the work of craftsmen
of New England, is sponsored by the
Massachusetts Association of Craftsmen
and will be held at the Brockton Art Center. Fee; Initial jurying by slides. Jurors:
Jack Lenor Larsen and Frans Wildenhain.
Slides due February 15. For entry blank
and information, write: John Heller,
Brockton Art Center, Oak Street, Brockton 02401.
NEw
YORK, N E W
YORK
April "Copper '72," the second Annual
Competition sponsored by Copper Development Association, Inc., is open to all
residents of the United States who are
students in accredlted colleges, unlverslties,
or art schools, enrolled in Fine or Applied
Arts or Industrial Design, and includes
copper enameling. Application form and
object or model due February 1. Jury;
Awards. For information, write: J. R. L.
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]anuary 1972
11
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Cone 6 Reduction Glazes
IRON AND COPPER reduction glazes are
considered as among the most beautiful creations of the potter's art.
These glazes have had a long existence
in potting history since their first use
by early Chinese potters. T o d a y they
are still highly respected by studio
potters who become deeply involved
in the creative efforts necessary for
their production.
The extensive improvements made
in the gas-fired kiln used by the
artist-potter, along with the ready
availability of gas, both natural and
that sold in cylinders, bring the possibilities of reduction glazes well within the capabilities of the individual
potter. Although considerable automation is now possible in the operation
of the gas kiln, reduction remains an
art, one requiring skill, experimentation, and consistency in the method
of firing by those attempting to employ this technique.
Reduction firing is most easily carried out in the stoneware range, which
is generally considered to start at
about the Cone 6 level.
Following are the formulas for
several glazes, some with iron and
some with copper pigmentation. In
general, the recommended firing procedure is for oxidation firing to
1733°F (Cone 08), followed by moderate reduction to 2194°F (Cone 6).
WESTBY
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12
Ceramics Monthly
GLAZE I V - IRON REDUCTION
34.3%
Potash Feldspar . . . . . . . . . . . .
16.6
Strontium Carbonate . . . . . .
9.7
Zinc Oxide . . . . . . . . . . . . . . .
11.8
China Clay . . . . . . . . . . . . . . . .
27.6
Flint . . . . . . . . . . . . . . . . . . . . .
lOO.O%
Add: Red Iron Oxide . . . . . .
13.0%
This is an iron red type glaze.
T h e following copper red glazes
were fired in oxidation to 1733°F
(Cone 08), then in moderate reduction to 2194°F (Cone 6), at which
point they were permitted to cool in
the closed kiln.
COPPER REDUCTION
GLAZE V
27.0%
Fllt 33 (Hommel) . . . . . . . .
11.4
Frit 3923 (Ferro) . . . . . . . . . .
13.0
Potash Feldspar . . . . . . . . . . . .
16.6
China Clay . . . . . . . . . . . . . . .
14.6
Whiting . . . . . . . . . . . . . . . . . .
17.4
Flint . . . . . . . . . . . . . . . . . . . . .
100.0%
1.0%
A d d : Tin Oxide . . . . . . . . . .
0.5%
Copper Carbonate . . . .
This gives a rather fiery red in reduction.
-
-
IRON REDUCTION
GLAZE I
6.1%
Dolomite . . . . . . . . . . . . . . . . .
97.5
Potash Feldspar . . . . . . . . . . .
9.7
Lithium Carbonate . . . . . . . .
11.6
Whiting . . . . . . . . . . . . . . . . . .
9.5
China Clay . . . . . . . . . . . . . . .
35.6
Flint . . . . . . . . . . . . . . . . . . . . .
COPPER REDUCTION
GLAZE V I
63.0%
Potash Feldspar . . . . . . . . . . .
4.2
Dolomite . . . . . . . . . . . . . . . . .
6.9
Whiting . . . . . . . . . . . . . . . . . .
5.9
China Clay . . . . . . . . . . . . . . .
90.0
Flint . . . . . . . . . . . . . . . . . . . . .
100.0%
1.0%
Add: Tin Oxide . . . . . . . . . . .
Copper Carbonate . . . 0.5%
Glaze V I is an excellent copper red.
-
-
13.0%
A d d : Red Iron Oxide . . . . . .
This first glaze is a "dust" patterned
glaze, fired as described above, then
dropped in cooling and in reduction
to about 1922°F (Gone 04) before all
gas valves to the kiln are closed.
IRON REDUCTION
GLAZE I I
41.5%
Potash Feldspar . . . . . . . . . . .
15.0
Whiting . . . . . . . . . . . . . . . . . .
12.0
Zinc Oxide . . . . . . . . . . . . . . .
4.5
China Clay . . . . . . . . . . . . . . .
27.0
Flint . . . . . . . . . . . . . . . . . . . . .
-
Hobby Kiln Kit,
12"x12#x131/2 " deep . . . . . $ 69.95
GLAZE I I I - - IRON REDUCTION
82.7%
Volcanic Ash . . . . . . . . . . . . . .
8.9
Whiting . . . . . . . . . . . . . . . . . .
8.4
Zinc Oxide . . . . . . . . . . . . . . .
100.0%
This glaze is a somewhat clouded celadon utilizing no pigment except that
naturally present in the volcanic ash.
-
lOO.O%
1.0%
A d d : Red Iron Oxide . . . . . .
This gives a very nice satin celadon
glaze.
-
-
100.0%
COPPER REDUCTION
GLAZE V I I
57.0%
Potash Feldspar . . . . . . . . . . . .
15.2
Lithium Carbonate . . . . . . . .
8.2
Whiting . . . . . . . . . . . . . . . . . .
2.5
China Clay . . . . . . . . . . . . . . .
17.1
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Flint .
100.0%
1.0%
A d d : Tin Oxide . . . . . . . . . .
0.5%
Copper Carbonate . . . .
This is a rather spectacularly rich red
patterned glaze. Because it is very
fluid in the firing, it must be fired on
a firing ring, with a shallow catchment
plate below it.
-
-
Italian Majolica Plate The majolica plate pictured here
is an example of traditional decoration being done during
the first quarter of the 16th century. An opaque white
glaze was applied over a rather coarse clay body, then a
decoration was painted over the unfired glaze. After
firing, the decoration was an integral part of the glaze
and not merely an overglaze ornamentation. Aspects of
majolica work are discussed in articles in this issue by
Angelo Garzio and Tom and Yvonne Shafer.
The plate illustrated here, a handsome example that
is nearly 16 inches in diameter and 4 inches deep, is from
the Collection of the Columbus Gallery of Fine Arts,
Columbus, Ohio; the Ferdinand Howald Collection.
Colors used by the Deruta potter in decorating the piece
include blue, brown, green, and yellow. The reverse side
has a dark yellow ground color. There is a spiral potter's
mark in the center of the raised foot. Photo: Courtesy
of the Columbus Gallery of Fine Arts.
January 1972
13
Pottery in Manesis
The Moorish-in/luenced
majolica of Southern Spain
by ToM AND YVONNE SHAFER
Above: Roo[ o[ the Faitanar Pottery in
Manesis shows the exhaust ports
over the kiln.
Opposite, below: Firemouth of the kiln
at the Faitanar Pottery is seen, along with
a bundle o[ the rosemary used [or
[iring the kiln.
Opposite, above: A majolica decorator at
the Faitanar Pottery paints a design over
the un[ired glaze on a plate.
!4
Ceramics Monthly
MEDIEVAL SPAIN boasted several major centers where
magnificent pottery and tiles were produced, but much
of the best work to be seen in museums today came from
the little town of Manises, near Valencia. While its peak
of artistic achievement was reached in the 15th century,
and was followed by a decline due largely to the popularity of Italian-influenced wares made elsewhere in
Spain, Manises has always remained a pottery center,
and much of the majolica ware still being produced
there shows the Moorish influence of medieval times.
There are today as many as I00 potteries in Manises,
ranging from small shops with just a few workers to
large factories. There also is a ceramic school, La Escuela
de Ceramica, where students receive artistic and technical
training, but where the emphasis is on preparation for
work in pottery factories.
Two of the potteries we visited, the Faitanar and the
VaIIdecabres, proved to be so different that a description
of them provides a good picture of the range which can
be found at this time.
The smaller of the two potteries is the Faitanar, which
is only about 50 years old. It wasn't easy to locate, since
it has no sign and looks like any pleasant house in a
residential district. There are only five workers~ and
they seemed quite surprised to have anyone come to
look at the pottery.
Although the workers all join in such jobs as packing
pots, each has particular jobs which he does every day.
Two of the workers make the pots in molds, put them
together and trim and fire them; three others paint
decorations on the pots. There are six rooms in the pottery, and these are rather small and a little dark. The
entrance leads into the room where the decorators work.
The man who seems to be in charge of the work has
been painting essentially the same designs for thirty
years. He is amazingly skillful and can execute an intricate design quickly and delicately on a plate, starting at
one side and working to the other, using no sketch
or guidelines. He makes his own brushes from the neck
hair of a burro. The two women, who were painting
simpler floral patterns on teacups and teapots during
our visit, were quite insistent that the brush could not
be made from the tail of a donkey, or a horse. The pots
made at the Faitanar are traditional 19th century forms,
using white glazes with in-glaze decoration.
One room of the pottery is filled with molds and
tubs of slip; the clay used is a local red clay. There are
two rooms with wheels, which are used for assembling
or trimming pots made in molds. These wheels are the
same design and massive wood construction as medieval
wheels, and probably were once used for throwing. One
of the workers demonstrated for us that he could throw,
but all of the pots made there now are done in molds.
Glazing is done in a small room where the pots are
dipped in large tubs of glaze.
The large circular kiln is actually part of the structure of the building, with its 6-foot-thick walls blending
into the building at one side and at the top. It has an
inside diameter of from 9 to 10 feet, and a height of
nearly 12 feet. The pots are loaded in saggars, m a n y of
which are cracked or broken and secured with cords
tightened with little sticks. T h e cracks and joints are all
daubed over with wet clay after the saggars are placed
in the kiln. Progressing through a narrow passage and
down some stairs, we came to a room at the back of the
kiln where the fuel was stored and the stoking was done.
T h r o u g h the single fire mouth could be seen the vast
firebox extending under the kiln. T h e fuel used is dried
wild rosemary, which the pottery buys from a man who
cuts it on the nearby hills. As the rosemary burns very
rapidly, this room is filled to its 16-foot ceiling before
a firing. T h e two workers who fire the kiln take turns
stoking and must be there the whole 24 hours required
for a firing. It takes 3 days for the kiln to cool The
kiln is fired about once a month, and there are several
hundred pieces in each firing.
O n the roof of the building (which is also the kiln
roof) can be seen five small exhaust ports surrounding
a large central one. Three little bisqued baskets containing test cups are suspended below the large flue
opening. By pulling one of these out with a metal rod
during a firing, the melting of the glazes can be checked.
This is the only heat indicator used.
T h e pots made at the Faitanar Pottery are shipped to
other localities on a very steady basis. About once a
month pots are packed and sent off. In addition to the
usual plates, teacups and teapots, there are decorative
pieces such as birds and some large fountains that are
assembled from several separate pieces.
16
Ceramics Monthly
This small factory is an extremely pleasant place to
visit. Although the work must be somewhat monotonous
the workers seem to be happy in their jobs, and have
quite a "family feeling" since they all have worked together several years. They clearly take pride in their
work, as indicated by the comments of the decorator who
said that there are plenty of modern ceramics being produced, but that people of culture prefer the more
elegant traditional work made at the Faitanar.
The Valldecabres Pottery presents quite a contrast to
the smaller one. It has a handsome tile facade, several
large buildings, and employs 70 workers. This is one
of the largest factories manufacturing artistic ceramics
in Spain, and is about 100 years old. It ships pottery to
places all over the world.
As was the case at the smaller pottery and at the
school, no one here speaks English, but the man who gave
us a tour was obviously accustomed to showing visitors
around. T h e large rambling buildings include rooms
where the pots are made, a large studio where people
decorate, 4 kilns, an enormous barn-like room filled
with finished pieces, and another large area where the
packing is done.
Again, all the work is done in molds, either slipcast or
made in press molds; trimming and assembling of the
more complex pieces are done by hand. M a n y pieces are
intricately carved when leather hard to produce a latticelike effect. The potter?, is made in a room containing concrete tubs about twelve feet square which are filled with
slip. All over the room are molds which range in size from
small pieces to large molds for capitals to be used on
top of colunms.
In contrast to the quiet familial atmosphere of the
smaller pottery, the room where the decoration is done
at the Valldecabres Pottery is filled with rows of wooden
tables with workers on each side, and there is continual
noise from several transistor radios blaring music from
different stations. T h e room is well-lighted, as one side
is nearly all windows. M a n y of the workers are teenage
girls and boys, and some workers are from the school.
Some of these students come from such distant places as
Argentina, with their governments paying their way to
Manises so that they can learn the techniques of making
molds, decorating, firing, etc.
The Valldecabres has two large kilns, which are
modern, and two old-style kilns. The larger kilns are
fired with pine wood, and the others, as at the smaller
pottery, are fired with rosemary. One of the kilns fired
with rosemary is the same circular shape, about 14 feet
high and with walls about 8 feet thick. It is 16 or 17
years old and the man showing us
around said it would withstand about
30 years of continual use before it
would need renovation. The pots are
loaded in the same type of cylindrical saggars aim many stacks of these
are found inside and outside the
Valldecabres Pottery building.
Near the larger kilns is a clock
which gives a signal every five minutes to put in more wood. Two men
are stationed there throughout the
firing and they do nothing else. The
kiln is fired to about 1700°F and it
takes about two tons of wood for a
firing. The firing takes 48 hours,
and the kiln requires 70 hours to
cool. At this pottery, the kilns
are fired ahuost continually. As
soon as a kiln is fired, has cooled
and been unloaded, it is loaded
again. In this way the rotating system guarantees at least one firing at any given time.
The room where the finished pots are stacked is an impressive sight: piles and piles of plates, bowls, amphorae,
cookie jars, ashtrays, vases, jugs, cups, and capitals. While
there are several styles of work made. much of the work
Top: A typical ValIdecabres Pottery ma)olica bowl in
blue decoration on a white background shows influence o[
the Moorish style on Spanish pottery.
Center: Saggars are stacked near the kiln, ready for
use in [iring ma)olica plates and platters. A small
jar produced at the ValIdecabres Pottery is blue-on-white
majolica in traditional shape and decoration.
Right: VaUdecabres-produced bowl with lug handles
has a blue decoration on the white glaze.
Opposite Page: Entry to the ValIdecabres Majolica
Pottery incorporates some o[ the ceramic work
produced inside.
Far left: Polychrome tiles
enhance the facade of
a building in Manises.
Left: Tile factory in
Manises uses its own
products on the front of
its building.
Below: Wet clay to be
pressed in molds is
flattened against an
outside wall of the
building until stiff
enough for use.
shows the influence of medieval shapes and decoration.
The best pots are nicely-done plates and bowls, usually
cobalt blue designs painted over the unfired white glaze.
The worst pots are some chrome-green-and shiny-brown
pitchers and cups made to look like barrels. The capitals
for the columns, however, are quite nice and are used
to good advantage in churches and in gardens.
It would be impossible to visit Manises and not know
it is a pottery town. In every quarter of town there are
potteries, large or small. In addition to the Faitanar
and the Valldecabres, we visited a pottery with a large,
well-lighted display room located at a stop for busloads
of tourists coming from Valencia. In addition to cups
and bowls, this pottery makes tiles, a very big business
in Spain. The highly decorated tiles were traditionally
used for walls, floors, signs on buildings, entryways, walks,
and courtyards, and this use continues in modem buildings, especially in Southern Spain. In Manises there are
several factories which make only tiles, and some buildings have entire facades covered with a variety of elaborately-decorated tiles.
It is wonderful to note that through 600 years of
changing tastes and needs in pottery, Manises has remained a successful producer. After the decline in popularity of Manises pottery in the 16th century, the
18
Ceramics Monthly
Hispano-Moresque style began to disappear and, while
other styles were adopted, altered, combined, and transformed, the Manises pottery never again came to the
forefront in development of style and taste as it did in
the 15th century. Today's approach is eclectic, and
consists of borrowing and adapting forms and decoration
from the medieval and later periods. Contemporary
design seems to be the weakest, aesthetically; the most
successful pots are those which most closely follow traditional styles, and even those pots usually lack the richness and vitality of the originals. This is partially due
to the refinement of modern glaze materials, which lack
the impurities and irregularities which gave a richer
quality to the old pottery, and also to the use of sealed
saggars, which means that the pots are always fired in
a completely clean, oxidizing atmosphere. Also, slip-cast
pieces never seem to have the character and interest of
handmade ones. It was disappointing that no throwing
was done in any of the factories we visited, but traditional
skills in decorating techniques are preserved. The worker
who decorates pottery at the Faitanar Pottery maintains
vitality and freshness in his work and combines this
with a sure, swift, and confident technique which can
come only with years of experience and a firm grounding in tradition.
The Majolica Technique
for Stoneware
by
ANOELO
C . GARZIO
W E USUALLY ASSOCIATE t h e terms majolica, [aience,
Delft, and Hispano-Moresque with certain pottery produced in southern Europe; in particular it brings to mind
low-fired earthenware with bright and colorful decoration over a shiny white glaze. The technique of using a
lead-tin glaze as a background for polychrome decoration
actually had its beginnings in the ancient pre-Christian
world, but it was greatly developed by Muslim potters.
In their attempts to emulate early Chinese porcelains,
Persian potters tried many combinations of clay and
glaze materials in trying to duplicate porcelain's surface
whiteness. At first, white slips were used over the rather
coarse clay body; later on, the potters experimented
with lead glazes to which they added tin oxide in order
to get a white opaque surface. Eventually, strong and
bright colors, a characteristic of most Near-Eastern art,
made their appearance on this glaze.
The Muslims who overran Spain early in the 8th century brought with them the pottery tradition of surface
embellishment with oxides of metals. As a result of increased trade in the following centuries, pottery made in
Spain was shipped to many different countries, but
primarily to Italy. Perhaps because the trading vessels
stopped over on the Spanish island of Majorca, Italians
came to refer to this surface-decorated pottery as
majolica, a corruption of the island's name.
The Italians contributed to the development of the
technique of in-glaze decoration - - this application of
coloring oxide solutions over a low-fire lead-tin glaze. The
city of Faenza, near the eastern seacoast, was one of the
main centers for pottery- production during die Renaissance, and its name was given to this polychrome ware
by the French.
The next important group of people who absorbed
their technique was the Dutch. As a result of the great
importation of this ware into England from the Dutch
city of Delft, this name was added to those of majolica
and faience.
The practice of painting pottery surfaces with metallic
coloring pigments is not complex, nor is it difficult. It
simply entails the application of washes or stains (usually
with the aid of a brush) on a pottery surface already
glazed (but not fired) with a white or off-white glaze.
As the stains ordinarily are a mixture of coloring oxides
and water, and since many of the colorants act as strong
fluxing agents, it is obvious that the potter must guard
against overfiring a kiln containing majolica-decorated
pottery. If a kiln is overtired, decorations very well
might run together and the crisp, sharp patterns that we
associate with this technique would be blurred.
Since traditional majolica decoration makes use of
bright colors and since it generally retains a clear, sharp
pattern, it often conveys a feeling of exuberance, joy, and
light-heartedness. The crisp, bold patterns that literally
jump from the surface can add greater meaning and
depth to the emotional impact of pottery. Yet there are
definite disadvantages to the low fire majolica ware. As
lead is used for the main flux in many of these glazes,
danger to the health of both potter and user of these
vessels is obvious. The glaze is not quite fused at the
~:~
~
. ~ . i-;~ ....
~: %
Photos: Eugene Guerrant
January 1972
19
A low, fiat bowl is covered with the yellow matt
glaze; when it is dry, a design is outlined with
a color solution that will burn out in the firing.
low temperatures that majolica is fired to (rarely over
Cone 04), and consequently it is easily scratched or
chipped. Along with these toxic and fragile characteristics, a third factor should be noted: since the glaze is
applied to earthenware, unless the glaze has been especially formulated to fit the pot, crazing eventually Mll set in
and create new problems.
It was for the above-named reasons that the author
saw fit to undertake a series of experiments to determine
the possibility of using the majolica technique whh stoneware clays and at high-temperature firings.
Several factors were considered before experimental
work was begun: 1. Temperature to be fired; 2. Feasibility of using a reduction atmosphere as well as oxidation
in the firing; 3. Development of glazes suitable for stain
colorant decoration without causing a bleeding or running
together of the colorants; and 4. Development of a suitable palette of stain colorants restricting the color to be
made by using only metallic oxides or carbonates available in the workshop studio.
To minimize purchase of new equipment or materials
such as cones, etc., it was decided to have the firing
of the modified majolica ware from Cones 9-10, the firing
temperature used for the author's regular work.
Both oxidizing and reducing atmospheres were used in
some of the preliminary work. By personal choice, the
author preferred the subtle changes on the clay and
glaze surfaces brought about by reduction, which gives a
20
Ceramics Monthly
Colored stains are applied to the sketched outlines.
Lighter colors generally are blocked in first, then
darker colors and accents are brushed on.
richer appearance to the pot. The iron speckling, caused
by clay impurities bleeding through the glaze, enhanced
the decoration by stains and created a nmre subtle change
from the controlled designs to the natural materials as
they reacted to the fire.
Three glazes were selected from the several that had
been formulated. Only one was a glossy white surface;
the other two were matt and slightly different in color.
The second of the two was a dry, yellow matt. which
proved to be the most successful.
GLOSSY OPAQUE I*~'HITEGLAZE (Cone 8-10)
220 parts
Potassium Feldspar . . . . . . . . . . . . . . . . . . . . . . . .
12
Pearl Ash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
Dolomite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
24
Flint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
Opax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
Bentonite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
STONY WHITE MATT (Cone 8-10)
148.0 parts
Potassium Feldspar . . . . . . . . . . . . . . . . . . . . . .
7.0
Colemanite . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26.5
Barium Carbonate . . . . . . . . . . . . . . . . . . . . . . .
11.0
Zinc Oxide . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.5
Magnesium Carbonate . . . . . . . . . . . . . . . . . . .
26.6
Whiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4.0
Aluminum Hydroxide . . . . . . . . . . . . . . . . . . . .
4.8
Pearl Ash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5.0
Bentonite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22.7
Superpax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Decoration is completed by outlining po~tio,s o/
the design with black stain. Colors used include
dark red, green, and blue-green.
Bowl, ,~/I,a'~ a dc~ ora/i,, t~mdc a'ith pnvtallz~
oxides thinned with water. 7"he use o~ more
concentrated colorants would give sharper design.
YELLOW .~'IATT (JLAZE (Cone 8-10)
Feldspar (Kona F-41 . . . . . . . . . . . . . . . . . . . .
275.1 parts
Barium Carbonate . . . . . . . . . . . . . . . . . . . . . . .
172.3
Dolomite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
96.3
Whiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5.0
Kaolin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32.2
Flint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
36.0
Bentonite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15.0
Red Iron Oxide . . . . . . . . . . . . . . . . . . . . . . . . .
12.3
Opax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92.6
The colored stains that were developed proved much
easier to formulate than expected, particularly since
simplicity and economy were the prime considerations.
Because these stains would have to withstand elevated
temperatures, only five metallic colorants were selected.
All measurements were done by using regular kitchen
measuring containers. The container used as a measuring
device for the water, to which the coloring oxides would
be added, was a discarded 6 fluid ounce orange juice
can. This proved a space-saving measure also, as the
cans were easily kept covered when not in use. Following
are the colorants developed and used by the author. The
metal oxides are simply added to the specified amount
of water and should be well stirred before applying on
the glaze surfaces.
1. Tans, rust reds, browns: 1- to 2-teaspoons of red iron
oxide in ~ - c a n of water.
2. Apple-green to deep-green: I/'4- to ~-teaspoon chro-
nfium oxide in ~2-can of water.
3. Sea-foam green to green-black: x,/2- to 1-teaspoon black
copper oxide to ~2-can of water.
4. Purple-violet: 1-teaspoon manganese dioxide in %can of water.
5. Blue: ~-teaspoon cobalt carbonate in ~ - c a n of water.
6. Green-blue: ~-teaspoon cobalt carbonate mixed dr)with ~2-teaspoon copper carbonate in /~-can of water.
7. Black: ½-teaspoon of red iron oxide, ~L,-teaspoon of
manganese dioxide and ¼-teaspoon of cobalt carbonate.
Mix well dr)', and add mixture to ~{~-can of water.
For drawing outlines of the designs over the glaze,
almost any ink can be used as it will burn out in the
course of the firing. I prefer to use a thin solution of
about 1 teaspoon of red lead in ~ - c a n of water. The
color of the lead stain is sufficient to indicate the lines
and patterns, and will readily burn out at the lower
temperatures without causing any glaze defects such
as bubbling or blistering.
Certain precautions must be kept in mind before,
during, and after the completion of the decoration:
1. Since brushes are the principal means of applying the
colors on the glaze, buy a variety of widths and shapes.
I use two very thin sable brushes for outlining and adding
accents, and one or two small ( # 3 0 or # 3 1 ) bamboo
brushes serve very nicely for filling in broad areas. Obviously, the size and quality of brush used will depend
in great part on what the potter may want to accomplish.
January 1972
21
2. The glaze, which is the surface vehicle for the colorants, must be applied as evenly as possible (so as to have
a smooth surface for the brush to work on). The best
way to insure an even thickness is to completely immerse
the pot in a bath of glaze.
3. Allow the glaze to dry completely before starting to
decorate.
4. Always keep the stains stirred during use, as the heavy
metal particles will quickly settle.
5. When applying the colors, have a good idea in mind
of what you are going to do; i.e., what colors are going to
go where and how broad or thin the contoured outlines
should be. Don't go back over a brush stroke unless a
darker line or area is intended. The beauty of majolica
decoration is the fresh, crisp, confident outline and contour of the design against the background of the light
colored glaze.
6. Avoid touching or rubbing over surfaces already decorated in order to eliminate smudging colored areas.
Some final remarks should be added at this point
in order to assist those who have never, or rarely-ever,
decorated a pottery vessel by use of this technique. It is
advisable to begin with large, simple designs that may
entail the use of no more than two to three colors.
As confidence and skill develop, more elaborate patterns
can be used, along with a larger palette range. Although
there ought not to be any limitations of pottery shapes
on which majolica decoration can be practiced by the
novice~ a comparatively flat, uncomplicated surface such
as a low bowl or platter ought to be more comfortable
to work on. As the decorator gains in practice and confidence, he will find that majolica decoration can be used
very nicely on the more elaborate pottery forms.
22
Ceramics Monthly
Large [Iat platter, 16 inches in diameter, was
reduction [ired at Cone 10. Design on stony glaze
in blue-green, violet and sea-loam green with
accents o[ yellow and white and contour in black.
Vase, reduction [ired at Cone 9, also was
decorated over the stony glaze. Colors in design
include tans, rust red, and touches o[ brown
and blue-green. Outline is in brown-to-black.
Lidded [orm [reshly-gIazed with glossy white glaze
and decorated with stains that include tan and
red bands, blue-green and tan [tee-brush
decoration, and black accents.
Making Double-Spouted
Pots on the Wheel
by BENNIE LEz AND DON LEWIS
1. A ball of clay is centered
on the wheel and opened
to make a cylindrical form.
"'ONCE IN AWHILE I get in the mood to make a doublespouted pot. It offers a nice break from the conventional,
wheel-thrown round rim, and I ahvays enjoy making
one.
~
That is Don's explanation. As his wife, and the person
in charge of selling the pots he makes, I feel compelled
to add that he can never make "just one." When the
urge strikes, his shelves fill up with double-spouted pots
of all sizes, from tiny three-inch tall vases to floor pots
so large that only the salt kiln will hold them. Luckily,
the double-spouted pots sell well. In addition to having
an interesting sculptural quality, they are quite decorative
and therefore in demand for arrangements of weeds and
dried flowers.
And, for the potter, the double-spouted pot provides
a unique combination of wheel and hand-altering techniques that can be carried out at the time the pot is
thrown, and still is on the wheel.
The first step is throwing the basic form, and here
particular care must be given to the shape of the shoulder,
neck and rim. Some combinations of these are not suitable for this technique because of the possibility that the
wall will collapse when the center is joined. Learning
which forms will "work" requires a period of trial and
error. Making this type of pot also requires the use of a
well-aged, fairly plastic clay, otherwise the clay will tend
to tear badly when the detail work is done.
As soon as the pot is thrown, and before it is cut from
the wheel, the rim and part of the neck are pinched
together firmly to form two individual openings. At this
2. Clay in the wall is raised
between the fingers for the
initial height needed.
.3. As the ~yIilzder is brou~,ht
up, the rim is carefully
kept under control.
]anuary 1972
23
4. A; [inal height is reached,
the outside shape i; re[im'd
with a curved metal rib.
5. At tl~is stage the 77eck it
constricted to make a
~malIer opening.
6. 7"11~ lira' o/t/~' nrrk is also,
re/ined with a curved metal
rib held in the ri.~ht hand.
7. The so/t clay at the lip and
neck is pinched at the center
to close the cylinder rim.
8. The double spouts that
result no~c completely alter
the character o / t h e p o t / o r m .
9. A tevtured decoration is
incised into the clay while
it still is in the wet stage.
24
Ceramics Monthly
time, it may help to press the body of the pot together
slightly, thus relieving the stress on the juncture, and
altering further the "wheel-throw n" appearance, if this
is desired. Any tears or rips that might appear in the wall
should be carefully patched at this time. If any textural
decoration is desired, it may be added now or during the
next stage of work, depending on its character.
The pot is dried slowly to a stage not quite as dry as
leather-hard - - Don describes it as "waiting until the
gloss (water that's on the pot from throwing) is g o n e " - and then some clay is added to the inside of the joint in
order to seal it more securely.
When the pot is leather-hard, the foot mav be cleaned
by scraping with a dull knife.
The double-spoute d pot should be allowed to drv
slowly; during this time it must be carefully checked for
cracks or tears along the joint.
This, then, is the method. The results are continually
varying and interesting, and the final forms can never be
10. If'hen l/to d,~oratiolz ),
complete, the pot is cut loose
/tom the wheel.
fully anticipated because so much depends on the shape
of each shoulder and neck. Perhaps it is this excitement-wondering just what difference will result from any
subtlety of form - - that makes the throwing of doublespoutect pots "habit-formin g" for the creative studio or
production potter.
D O N L E W I S is a member o/Southern Highlands Handitrait Guild, one o/ the owner-govern ors o/the prestigious
12 Designer Cra[tsmen Shop in Gatlinburg, Tennessee,
and one o/ the ever-expandin g group o: potters who [ind
they can create a com[ortable living by the production
and sale o/their work. Lewis came to pottery via a degree
in /ine arts [rom Furman University and a graduate
course under 3Iarguerite Wildenhain at Pond Farm
Workshop. Don and his wi/e Bennie Lee, a writer, live
and work in a cottage which they built themselves near
Campobello, South Carolina.
II. 7~it t)ot t,, ~alc.lul/) l~llcd
[rom the wheel and set
aside [or drying.
12. The double-spoute d case
has an interesting sculptural
quality that makes it
attractive [or use or display.
JaJluary 1972
25
Adair Plaques
Adorn New
Rockford Library
Clay was rolled for a plaque, after
which Adair sprigged on a clay
design representing an Egyptian
hieroglyphic.
library---com munication o f
the knowledge of the ages through the written word-are two dozen ceramic plaques in random shapes and
sizes which were recently installed in a brick panel on
the front of Rockford College's Howard Colman Library,
Rockford, Illinois. Designed and created by Arthur Adair,
chairman of the College art department, the plaques
represent early forms of writing, including Egyptian
hieroglyphics , Moorish kufic script, and primitive Chinese
writing.
Adair spent many hours in the library researching the
subject matter, then more time in planning the complete
design. Finally, he made a scale model of the project
before beginning to work with the clay.
Various techniques were used by Adair in fashioning
the plaques--app liqu6 (sometimes using clay of a different color than that of the background), carving or
scoring, and pressing or stamping shapes into clay.
He used stoneware clay in red and yellow, combining
them to create a variety of color tones. The plaques were
fired in a high-fire kiln to 2300°F in a reduction atmosphere. Some of the plaques were fired twice, first at a
lower temperature; then, after being stained with a
SYMBOLIC OF THE ROLE o f a
26
Ceramics Monthly
solution of red iron oxide and manganese dioxide, they
were retired to 2300°F. Others were fired directly to
2300 ° in a reduction atmosphere, which caused iron impurities in the clay to create spots or speckles. The stained
plaques have a dark steel-gray appearance, in contrast to
the reddish tone of most of the pieces.
Once completed, each plaque had a metal plate fitted
with two rods fastened to its back. Holes for the rods
were drilled into the library's brick wall, and a fast-setting
cement was used by the workmen in placing the rods.
The three-dimensi onal aspect of the completed screen
was heightened by the setting of rods at different levels
in the brick, so that some of the plaques stand out farther
from the wall than others.
The largest of the plaques is at the very top of the
panel. Representing Mayan (pre-Columbi an) hieroglyphics, it was made in three pieces, with the largest
center section projecting beyond the other two.
In the two sections directly below the Mayan work are
the Moorish kufic script and a representation of Chinese
characters. Near the bottom of the wall is a four-section
plaque representing prehistoric Chinese characters.
An interesting oval in three parts, derived from a
i!
Adair removed the completed
plaque from the kiln after it had
been fired at 2300°F in a
reduction atmost~here.
Adair and an assistant added
epoxy to the metal plates with
rods attached for holding plaques
to the brick wall.
Workmen inserted metal rods l l z l o
brick wall. Note how plaque
sections are placed at varying
surface levels.
Greek tombstone, is at left in the middle of the wall, and
nearby is a similar sectional piece inscribed with adaptations of rock painting from Africa, Spain, New Caledonia
and Scandinavia.
Symbols of the Northwest-coast Haida Indians are
depicted on two plaques, one a true circle and the other
a lengthy three-section piece. Also interesting is a tri-part
section showing Mesopotamian cuneiform in which the
center section is in low relief while the other two pieces
project beyond it.
Other early writings included in Adair's ceramic depictions are Tibetan and Celtic scripts, early Christian
symbols, Sasanian seals, writing taken from the first
Hebrew Testament, and an adaptation of an East Indian
wheel of law.
The project was commissioned by Mrs. Richard H.
Tower after Adair submitted his plan as an appropriate
decoration for the front of the library. The building was
completed in 1967 with funds given by the Barber-Colman
Foundation and was named for Mrs. Tower's father,
Howard Colman, who was a pioneer industrialist, an
inventor and, appropriately, a lover of books--a man
of broad intellectual interests.
January 1972
27
Some Glaze Faults... and their correction
by
RICHARD BEHRENS
I N HIS CONTINUAL SEARCH for the means of artistic expression, the potter must resort to a certain amount of
experimentation in his work with clay and glaze. Because
of the nature of any guesswork in the studio, it stands
to reason that the potter must expect frequent faulting
in results and be prepared for additional problems. A
knowledge of their causes, and some means of correcting
them are, therefore, useful.
Crazing Glazes which develop a network of fine or
coarse cracks when they have been withdrawn from the
kiln after firing are said to be "crazed." Some crazing is
intentionally induced as an embellishment to produce a
"crackle" glaze and the cracks are sometiines filled with
colorants to emphasize their presence. But these still are
crazed glazes that must generally be considered defective
and, as such, are to be avoided.
Crazing results from a lack of fit between glaze and
the clay body. When the glaze is in a heat-softened condition in the kiln, it may adhere and conform to the
body shape without any trouble; upon cooling, however,
the glaze may contract more than the body does and
thus set up a strain which exceeds its capacity for adherence to the body. In short, while all solids (and
especially the metals) expand when they are hot and
contract when they are cool, the difference in shrinkage
between clay body and covering glaze is too great. If
the difference between body and glaze is substantial, the
network of cracks might be finely meshed; if the strain
is moderate or low, however, the network of cracks may
be rather coarse.
Various techniques may be used to correct crazing
and these may involve changes in the composition of the
glaze or the clay body, or, to a degree, modifications in
the firing of the ware. The artist-potter with average
studio resources often must depend upon practical experimental procedures in determining correctional efforts
to eliminate crazing. A primary consideration in this
determination is a change in the silica (flint) used in
the glaze. In some cases the substitution of a finer mesh
silica for a coarser variety may be enough to overcome
crazing. Many ceramic suppliers stock a fine-mesh silica
which is available at a slightly higher price than that
charged for the regular variety. The lab procedure involved here is an increase in the amount of silica used in the
glaze, as this may prove an easy and effective way to
eliminate or reduce crazing.
A practical and rapid method of determining the
amount of silica which must be added in an effort to
eliminate crazing may be carried out by adding small
increments of silica to weighed-out portions of the offending glaze and firing these on a small test pot. If a 100.0-
28
Ceramics Monthly
gram batch of the glaze is weighed out and prepared for
use, and 2.5 grams of extra silica (along with sufficient
water to produce a good brushing consistency) is added
to it, this may be mixed well and applied to a portion of
a small pot. This is followed by the addition of another
Specially-made shapes or discard pots may be used when
small increments o[ materials are added to glazes [or
testing. This system is generally used in connection
with crazing, but it can be utilized e[[ectively [or other
dejects as well.
2.5 grams of silica to the original batch, including a good
mix and application to an adjoining area of the pot. This
may be followed with one or two more applications, and
in this manner a systematic increase in the silica content
of the glaze can be quickly made and indicated with a
marking pencil or fluid on the test container. The pot
may then be fired to the desired cone level and the results examined for evidence of crazing.
It sometimes happens that additional testing may be
necessary, and this may involve larger increments than
the 2.5 grams of flint used in the first test. While an
error is introduced each time an increment of silica is added to the glaze, and since a small amount of the glaze is
removed at each application of a test streak to the pot,
the error is of tolerable magnitude and a follow-up of
an accurately weighed portion will pinpoint the exact
amount needed. It should also be noted that an increase
in firing temperature, from a half to a full cone, may
eliminate any devitrification effect when extra silica is
added to reduce crazing.
Crazing may be reduced by increasing the silica content of the clay body to which the glaze is applied. By
starting with a 1000-gram batch of the clay body, small
increments of silica (flint) may be wedged into it (much
in the manner that silica was introduced into the glaze
for testing). From this clay batch, small chunks may be
removed and made into thin tiles and fired with some
of the glaze to determine how much extra silica is needed
to eliminate crazing.
An important aspect of obtaining freedom from crazing in a glaze is securing a good transitional interlayer
between glaze and body. This bonding interlayer occurs
when the glaze chemically attacks the outer layer of the
body and penetrates such pores as exist. The glaze interlayer so formed takes on some of the properties of the
body, while that part of the body in close contact with
the glaze becomes closely bonded with the glaze. In a
sense, this layer may be looked upon as a type of buffer
between glaze and body which tends to reduce crazing.
The presence of some calcium oxide in both body and
glaze can facilitate the formation of a satisfactory interlayer. Glazes which contain some calcium oxide would
favor the formation of a good interlayer, while additions
of up to 10% of whiting (calcium carbonate) to the
body also would facilitate the formation of a good bond.
Glazes containing significant amounts of such very active
fluxes as lead, sodium, potassium and, particularly, boric
oxide are effective in producing good bonding interlayers
between glaze and body. The temperature and duration
of firing also influence the effectiveness of an interlayer
formed during the firing.
Where some variation in the character of the glaze
is acceptable or even desirable, the introduction of some
2.5 to 10.0% additions of whiting, magnesium carbonate,
dolomite, zinc oxide or kaolin may be tried. The optimum
amount of addition is governed by the degree of crazing,
as well as the fluidity of the glaze. An experimental determination of the amount of additions of the various
oxides suggested may be carried out as described under
the determination of silica percentages necessary to halt
crazing.
Under some circumstances, firing of the body to a
higher temperature may result in a reduction of crazing
tendencies. Heat shock, particularly at the levels of 225°(]
and at 575-550°C, where silica changes from one state
into another, may stimulate crazing. These stages of firing
should be passed through slowly. It should also be men-
tioned that ware be allowed to cool in the kiln until it
can be removed with the bare hands.
Shivering The reverse of crazing, shivering is the peeling
of glaze from the body after firing. Measures used to
combat this fault are the opposite of those utilized for
crazing and primarily involve an increase in the expansion
of the glaze, or a decrease in expansion of the body.
The first step that comes to mind in trying to remedy
the shivering fault is, of course, a reduction of the silica
content of the glaze. In some cases, a reduction in the
Shivering is a deject in which the glaze peels or
[lakes from the body o[ the pot.
silica content of the body may be of help. If some other
approach seems more desirable, an increase in the alkaline oxide content can be counted on to reduce shivering
tendencies. The most effective alkalis are sodium and
potassium oxides. Equivalent substitutions of nepheline
syenite and use of Ferro Flit 3293 provide effective materials for inclusion in formulas that are offenders in the
production of shivering.
The experimental approach described under crazing
can be used effectively here for making incremental additions to the glazes or bodies being tested.
R I C H A R D BEHRENS will continue his discussion o[
"Glaze Faults . . . and their correction" in the next issue
of CM. Specific areas to be considered include crawling,
pinholing, blistering, dunting, and the "pinking" o[ tin
glazes. CM is pleased to announce the publication o[
"Glaze Projects," a new Handbook by Mr. Behrens. Full
details can be [ound on Page 5 o[ this issue.
January 1972
29
Recommended
books on ceramics
from the
KERAMOS
CLAY AND GLAZES FOR THE POTTER
by Fronz Kriwanek. All of the basic areas of
ceramic worE, from digging clay to building and operating a kiln, are covered in
this new book. The examples of pottery are
impressive both in number and quality.
There is a refreshing treatment of subject
matter that makes the book unique among
the various texts now available.
$4.00
by Daniel Rhodes. Two complete books in
onel Fundamental details on both clay and
glazes make this book a "must" for every
student, teacher and potter.
$7.50
KILNS: DESIGN, CONSTRUCTION
& OPERATION
by Daniel Rhodes. Everything you need to
know about kilns u setting up, firing, various
types of kilns - - is described and demonstrated in this first complete book on kilns.
Over 100 drawings and photographs. $10.00
THE TECHNIQUES OF
PAINTED ATTIC POTTERY
Book Depadmnt
ORDER ANY OF THESE SELECT
TITLES ON OUR MONEY- BACK i
GUARANTEE. WE PAY :POSTAGE
NATURE AS DESIGNER
by Bertel Bager. This unusual and stimulating
book presents a treasured collection of plant
life which demonstrates in a unique and very
effective way the beauty of form in nature.
The forms will suggest on infinite number
of shapes end textures for pottery. An outstanding gift selection.
$14.95
MAKING POTTERY WITHOUT A WHEEL
by F. Carlton Ball and Janlce Levees. This
comprehensive and richly illustrated book
covers every phase of handbuilding and
decorating clay pieces. No book covers the
subject of texture and form so effectively.
Includes section on firing.
$9.95
DESIGN MOTIFS OF ANCIENT MEXICO
by Jorge Enciso. A compilation of 766 examples divided into geometric, natural and
artificial forms. Includes designs based on
flowers, birds, fish, etc. 170 pages. $2.50
STEP-BY-STEP CERAMICS
by Jolyon Hoisted. In this complete introduction to ceramics, the beginner is led
through all of the basic clay forming and
decorating processes. There ore special sections on the Potter's Wheel, Glazing, Firing
a Kiln, Building Your Own Kiln, Decorating
Techniques and Raku.
$2.50
HANDBOOK OF DESIGNS AND DEVICES
by Clarence Hornung. Over 1800 sketches
of basic designs and variations including the
circle, llne, scroll, fret, shield, snow crystals
and many more useful symbols.
$2.00
CERAMIC DESIGN
by John B. Kenny. Complete instructions for
methods of forming and decorating ware are
given, with step-by-step photos to guide the
designer along the way. Contains appendix,
list of materials, recipes, and glossary. $9.95
by Joseph Veach Noble. This lavish book
unravels the methods used by the Athenian
potters to produce the greatest pottery in
ancient European art. Includes information
on the famous Greek black glaze. $25.00
by Bernard Leach. Now in its twelfth American edition, this book should be in the
library of every potter and student of
ceramics!
$8.75
by John B. Kenny. The "best seller" in the
ceramic field! Step-by-step photo lessons
cover all of the poffery-making techniques:
clays, glazes, firing, plaster, etc.
$7.50
GLASS CRAFT
by Kay Kinney. The complete book on fusing,
laminating and bending glass. Basic techniques and step-by-step projects.
$7.50
30
Ceramics Monthly
RAKU: ART & TECHNIQUE
by Hal Riegger. The first complete book on
Raku. Covers clay and glaze preparation,
kiln building and firing techniques. Beautifully illustrated.
$12.95
CERAMICS
by Glenn C. Nelson. A new, revised and enlarged edition of a favorite title. An outstanding handbook for potters and teachers.
348 pages, hardcover.
$10.95
METAL ENAMELING
by Polly Rothenberg. The emphasis in this
book is on new methods of enameling and
new appffcations of the age-old techniques.
Many of these unusual experimental proiects
have never before been published.
$7.95
SELLING YOUR CRAFTS
by Norbert N. Nelson. in a concise stepby-step presentation, this book leads you
through the actual stages necessary to sell
successfully what you produce. Covers such
diverse channels of sales as wholesale, retail,
mall order and specially markets. $5.95
L
WE
PAY
POSTAGE
CREATIVE CLAY DESIGN
b~' Ernst Rottger. A wonderful aid to those
wno are learning and those who ore teaching others how to explore the creative possibilities of clay.
$5.95
J
POTTERY & CERAMIC SCULPTURE
by Herbert Sanders. A thoroughly revised
edition of Mr. Sanders' best seller CERAMICS BOOK. Completely up-dated with
new material, including section on how to
build a potter's wheel. This is an excellent
book for beginners.
$1.95
OBJECTS: USA
by Lee Nordness. A superb pubffcation featuring over 250 of our most talented artist/
craftsmen working in ceramic, enamel, glass,
metal, plastic, mosaic, wood, and fiber. Includes a photo of each craftsman, o brief
biography, and an example of his work. 360
pages m many in color.
$14.95
THE WORLD OF JAPANESECERAMICS
by F. H. Norton. The most complete book
on the subject, from choosing the proper
clay to putting the final touches on a piece,
all clearly explained.
$9.75
by Herbert Sanders. This handsome book
illustrates the forming and decorating processes and the unique tools used by the
potters of Japan. Includes glaze formulas,
color charts, and American equivalents of
Japanese glaze compositions.
$12.50
CERAMIC GLAZES
ENAMELING ON METAL
by Cullen W. Parmelee. This invaluable
reference book completely covers glaze
making, including formulas and batch
recipes. 314 pages of technical information.
For advanced students.
$9.95
by Oppi Untracht. Step-by-step photos are
used to describe fundamentals on through
to newly developed experimental styles. This
complete guide ;s a meier contribution to
the art of enamel;ng.
$7.50
CERAMICSAND HOW TO DECORATETHEM
POTTERY: FORM AND EXPRESSION
by Joan B. Priolo. Presents detailed descrip.
tions and illustrations of dozens of decorating techniques and shows how to use them.
Excellent for hobbyists.
$6.95
by Marguerite Wildenhain. A truly beauti.
ful book! Magnificent pictures of the author
at work and of ancient and contemporary
potters. Outstanding gift selection. $9.95
CERAMICS FOR THE ARTIST POTTER
Order Form
THE COMPLETE BOOK OF
POTTERY MAKING
by Daniel Rhodes. Describes techniques and
materials used in high-fire pottery. Includes
sections on clay bodies, glazes, colors, textures and decoration.
$7.50
A POTTER'S BOOK
CERAMIC SCULPTURE
by John B. Kenny. Contains over 1000 photos
and sketches covering all phases of the
sculptor's art: figure work, models and
casting, firing, etc. A valuable aid for oil
teachers and craftsmen.
$9.95
STONEWARE AND PORCELAIN
BOOK
m
We Pay Postage
DEPARTMENT Box 4548, Columbus, Ohio 43212
[ ] Bagar~Nature $14.95
[ ] Ball & Lovoo~Pottery $9.95
~1~ Enclso---Design$2.50
Hoisted---Ceramics $2.50
[ ] Homung~Deslgns $2.00
[ ] Kenny~Design $9.95
Kenny--S cuIpture $9.95
Kenny--Pottery $7.50
[ ] Ktnney~less Craft $7.50
~ Krlwenek~Keramos $4.00
Nobl~Attlc Pottery $25.00
Leach--Potter's Book $8.75
[_•_1['-]
NAME.
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STATE
ZIP__
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Nelson--Ceramlcs $10.95
Nelson--Selling Crafts $5.95
Nordness---Obiects$14.95
Norton--Artlst Potter $9.75
Parmelee--Gluzes$9.95
Priolo~Ceramics $6.95
Rhodes--Clay & Glazes $7.50
Rhodes--Kilns$10.00
Rhodes--Stoneware$7.S0
Rlegger--Raku $12.95
Rothenberg~Enamellng$7.95
Rottger~reaflve Clay $5.95
Sanders--Pottery $ 1.95
Sander~Japanese $12.S0
UntrachtmEnameling$7.50
WildenheinmPoHery$9.95
•~
~
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I T I N E R A R Y
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Continued lrom Page li
Center. For information, write: Evelyn
Gano, Box 606, Washougal, Washington.
TEXAS, SAN ANTONIO
~i
/
-,,,
1
-/.".
\"
I~1
March 17-19 The l l t h Annual Ceramic Art Show sponsored by the San
Antonio Ceramic Art Association, will be
held in the Home Builders Association
Building. For information, write: Mrs.
Ruth Rice, 143 Croesus Ave., San Antonio.
[]
[]
ALBERTA, LETHBRIDGE
3\"
W H E R E TO G O
[]
[]
N:
,[]
[]
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[]
January 17-February 4 "Small Fired
Up Lethbridge '72"; at the University of
Lethbridge Art Gallery.
CALIFORNIA~ LOS ANGELES
--
~o.~r'er°
TLyw.ee/
L
January l-February 2 Ceramics by LeRoy Patterson; at Canyon Gallery II.
CALIFORNIA, TOPANGA
January 1-February 2 Pottery by Thorn
Collins; at Canyon Gallery I.
D. C. WASHINOTON
I
~
S'~° ~'"'
ffl;~ ' ~ " ~ ' e
[~
=|i
January 28 through 1972 Pueblo Pottery: Zuni and Acoma Designs from the
Smithsonian Collection; in the Renwick
Gallery, Smithsonian Institution.
FLORmA, CORAL GABLES
through February 15 Pottery by Edmund Weyhe; at The Village Corner.
Art-Crafts Supplies, Inc.
23S N.E. 67th St.
Miami, Fla. 33138
Distributor for:
P A R A G O N Kilns
•
DUNCAN, GARE &
O R T O N CONES
MARX Brushes
•
JACQUELYN S t a l k
Please Mention CM
when writing our advertisers
FLORIDA, FORT MYERS BEACH
January 15-February 19 Decorative
Glass by Lucy Bush; at The Cubicle.
_J
ILLINOIS, CHIGAGO
January 1-31 Stoneware by Jane Dalton; in the Art Department, Chicago Publie Library.
January 22-February 20 "The American Porcelain Tradition," a Traveling Exhibition circulated by the New Jersey
State Museum; at the Museum of Science
and Industry.
Ceramics
by
Glenn C. Nelson
INDIANA, BLOOMINGTON
January 10-30 "Twelve Dutch Potters";
at the Indiana University Art Center.
In this impressive, new edition (third),
the author has been particularly concerned for the role played by the professional potter in the studio, in education,
and in industry. Throughout the book Mr.
Nelson has introduced new ideas, materials and equipment, especially in the
I chapter on kilns. $10.95 per copy.
i
IowA, AMES
January 16-February 16 The Third
Annual Clay and Paper Show; at the
Octagon Center for the Arts.
MASSACHUSETTS3 BOSTON
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through May 28 "Ancient Art of the
Americas," an exhibition of 145 objects
from 23 collections in Boston and New
England; at the Boston Museum.
i
MINNESOTAj M A N K A T O
January lO-February 4 Craft Commitment Exhibition; at Gallery 500.
Continued <,n Page 37
Be IR
I
am
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iN iN I
II
n
Box 4548, Columbus, Ohio 43212
Please send me _ _
copies of CERAMICS, |
new 3rd edition, @$10.95
1
MICHIGANj DETROIT
through January 9 "The American
Porcelain Tradition," a Traveling Exhibition circulated by the New Jersey State
Museum; at the Detroit Historical Museum.
II
CERAMICS
geaR Department
MONTHLY
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]a,uary Iq72
31
CERAMACTIVITIES
people, places and things
A M O N G OUR AUTHORS
There are two articles this month on
the subject of majolica, written by craftsnwn well known to readers of CERAMICS
MONTtlLY magazine.
Angelo Garzio, wht~se article on "The
Majolica Technique for Stoneware" begins
on Page 19 of this issue, has prepared
many CM features that have delighted
readers over a number of years. He will
be remembered in particular for his series
on lids for covered pots and handles for
teapots. At the present time he is preparing
a short article on reduction firing for our
readers. Mr. Garzio is a Professor of Art
at Kansas State University, where he
teaches ceramics. He has an impressive
record of one-man shows and representation in regional, national and international
exhibitions. He was an invited artist-potter
exhibitor at the American Pavilion at the
Brussels World's Fair, at the Faenza International Ceramic Exhibitions, and the
Second International Ceramic Exhibition
at Vallauris, France. In several tours of
foreign travel he has visited extensively in
Italy, France, England, Germany, Switzerland, Austria, Finland, Norway, Sweden
and Denmark.
Tom Sha[er studied art at the University
of Iowa, where he received his M.A. degree
under James McKinneII. Since becoming a full-time studio potter in 1965,
Sharer has established a national reputation in exhibition work and an international one in the area of ceramic seminar
participation. Tom Sharer produces two
basic types of work in his Guilford, Connecticut studio; purely decorative pieces
which usually are handbuilt, and functional items which generally are wheelthrown. He utilizes rich enamel-like colors
in much of his work, some of this in the
majolica technique. He and his wife,
Yvonne, a teacher and writer in the field
of theatre arts, are veteran travelers. They
have made many trips to Spain, where
they gathered the material for the story
on Manesis which begins on Page 14 of
this issue.
October and November. Mr. Kenji Suzuki,
Curator of the Museum, assembled the
exhibition in the spring of 1971. At that
time he visited the studios of ceramic
artists in the United States, Canada and
Mexico and selected work for the Invitational. Among those represented from
the West Coast are: Robert Arneson,
Michael Arntz, Clayton Bailey, Jun Kaneko, Marilyn Levine, Susan Loeber, John
Mason, James Melchert, Susan deStaebler,
Pat Siler, Chris Untersher, and Peter Voulkos. The exhibition is currently at the
National Museum of Modern Art in Tokyo.
Ace
GALLERY
OPENING
The American Crafts Council plans to
open the American Crafts Council Gallery
on the main floor of the Council's national
headquarters at 44 West 53rd Street in
New York on January 22. One-of-a-klnd
handcrafted objects in a wide variety of
materials by artist-craftsmen throughout
the country will be exhibited for sale. Future scheduled exhibitions will feature individual artists or materials.
MICHIGAN
CRAFTSMEN
EXHIBIT
One of the largest craft shows in recent
years, the 22nd Exhibition for Michigan
Artist-Craftsmen, opened November 24 at
the Detroit Institute of Arts and continued through January 2. Francis Sumner
Merritt, director of the Haystack Mountain School of Crafts, Deer Isle, Maine,
was the preliminary and final juror for
the event. After looking at 799 entries in
the form of slides from 248 artists, Merritt
summoned 506 entries for the final "in
INTERNATIONAL CERAMICS IN JAPAN
An exhibition of contemporary ceramics,
"Artists and Clay--An International Invitational," was held at the National Museum of Modern Art in Kyoto, Japan, in
32
Ceramics Monthly
In announcing the new Gallery of Contemporary Northwest Art, University of
O r e g o n , Richard
C. Paulin, acting
director, says, in
part: "Opening a
completely new
gallery is for me
always a most exciting and fulfilling aesthetic experience, and in
this particular instance the realization of an idea
nurtured during
the past four years. My immediate reaction upon my arrival in Oregon and at
this museum was one of strong vitality
and individuality in constant harmony with
nature's organic beauty and moods. The
presence of the physical and ephemeral
qualities of land, sea, and sky form an
almost religious bond between the artist
and his work, whether it be highly abstracted or somewhat naturalistic in content and execution.
"Included in this first showing in the
new gallery devoted to the contemporary
Northwest scene are 38 works by 35 artists,
running the gamut of techniques, styles
and materials in painting, graphics, sculpture and crafts. Not all the artists are
native or currently residing in the Northwest, but either worked, taught or studied
in the Pacific Northwest at one time or
another."
The gallery opened September 26, 1971,
and includes the works of potters Rudy
Autio, Betty Feves, Kenneth Shores, Henry
Takemoto and Peter Voulkos. "Self Portrait" by Betty Feves is shown here, courtesy of Museum of Art, the University of
Oregon. Individual pieces on display will
be rotated from time to time from the
Museum collection of contemporary North west art.
VIRGINIA CRAFTS COUNCIL
PRIMITIVE POTTERY IN ARIZONA
Hal Riegger has announced the dates
for the Experiment "A" Workshops in
primitive pottery to be held at the Colorado River Indian Tribe's reservation at
Parker, Arizona. The sessions will start
April 3 and conclude April 8; registration
nmst be made by March 1 for enrollment.
For full information, write Mr. Riegger at
5835 Bowness Rd., NW, Calgary 45, Alberta, Canada.
NEW GALLERY IN OREGON
person" survey. ,From this number, a total
of 269 works by 131 artists was selected.
He declared the final choices measured up
in all ways to shows he had seen all over
the country. Merritt has been particularly
interested in Michigan craft activity since
he was director of the Flint (Michigan)
Institute of Arts from 1947 to 1951. The
award-winning stoneware plate pictured
was done by John Glick.
The Executive Board of the Virginia
Crafts Council met at Radford College
on September 18 and discussed the many
plans and hopes for the future. Some of
the goals are to develop an education
program for folk (native) craftsmen, to
make available a directory and brochures
for the public at craft fairs, tourist centers, etc. with information about Virginia
craftsmen and their work, and explore the
possibility of a scholarship fund for a VCC
member.
The Lynchburg Fine Arts Center was
the location of a Craft Fair held on November 6-7. This was the second year
that a craft shop, Virginia Handcrafts,
Inc. and the Arts Center collaborated in
bringing about an activity to promote an
interest in the work of talented craftsmen.
Virginia Handcrafts, Inc. is the organizer
and responsible for the Fair with the cooperation and assistance of the Center.
Virginia Intermont College, Bristol, Virginia, held an exhibition from November
20-December 22 of the works of outstanding British Designer-Craftsmen, including
pieces by Bernard Leach. This show was
organized by the World Crafts Council
and is being toured by the Smithsonian
Institution.
The Virginia Museum Craft Biennial
will take place from March 13 to April 9
in Richmond, Virginia.
NORWEGIAN
ltl, tJlel oe¢"
RELY
ON
ORTON
.
.
.
.
.
.
i
.
:
EXHIBIT IN USA
At the invitation of the AmericanScandinavian Foundation and the Norsemen's Federation (Nordmanns-Forbundet),
the PLUS Creative Designs Organization
of Norway prepared a major traveling
exhibit of Norwegian crafts and applied
art for U. S. showing in the Midwest,
April through December. The exhibit, a
Three Orton cones point the way to
consistently fine firing results. Take
a tip from the experts.., the nationally and internationally acclaimed
and respected ceramic artists who
rely on Orton Standard Pyrometric
Cones as their guide to proper firing.
~ ~
'ii}i
...
line CHARLES
LAKOFSKY
w h o s e award-winning high-
The Edward
ORTON
............
q~, ......
.............
Jr. Ceramic
FOUNDATION
1445 Summit Street • Columbus,Ohio43201 * Phone (614) 299-4104
tired porcelains and other
pieces are included in the permanent collections of more
than 20 museums throughout
the U,S. and Europe. Lakofsky
is the author o! the textbook,
Pottery, and is Professor of A r t ,
Bowling Green State University.
i
portion of which is pictured, includes some
300 pieces representative of the thirty
craftsmen associated with the PLUS Colony at Fredrikstad, located just south of
Oslo, Norway. Coordinators in the United
States were Elsie Melby, Norwegian ViceConsul at Duluth, Minnesota; Gerda Mortensen, Midwestern Commissioner of Nordmanns Forbundet; and ]ohn E. Norton,
Midwestern representative of The American Scandinavian Foundation. Cooperating was Mr. Per Tannun, who is largely
responsible for the development of the
PLUS Creative Design group.
The PLUS Program is interaction between handicraft tradition and modern industry and is concentrated in the PLUS
workshops located in the old garrison town
of Fredrikstad. Using the neo-classical
Rosinggaard as their center, young artists
and craftsmen create and learn from each
other while they cooperate in giving fresh
ideas to various industrial enterprises. They
have a common aim . . . . that every article
leaving their workshops bearing the PLUS
sign, shall also be distinguished by the sign
of individual and human creativeness.
Amateur or professional-Minnesota
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MELCHERT A T E X H I B I T A
"Mind-Stretching with Melchert" is
planned to give ceramic professionals and
students, as well as artists in other media,
a chance to stimulate their own working
attitudes and processes by preparing for
an assignment from ]ira Melchert, professor of art at the University of California
at Berkeley, one of the leaders on the
fl
Write for our new catalog!
MINNESOTA CLAY
2410 E. 38TH STREET/MINNEAPOLIS,MINN. 56406/PHONE612-729-9085
Continued o,1 Page 34
January 1972
33
CERAMACTIVITIES
Continued [rom Page 33
ceramic scene. This event takes place on
January 17th at Exhibit A in Evanston,
Illinois, where participants will meet to
share their individual solutions with each
other and with Mr. Melchert.
Inquiries about the possibility of late
registration may be made by writing the
gallery: Exhibit A, 1708 Central Street,
Evanston, Illinois.
PENNSYLVANIA ARTS CONFERENCE
Attendance at the Fifth Annual Ceramic Arts Conference at the University
Park Campus of the Pennsylvania State
University in November totaled 400. All
of the eastern, as well as many of the
midwestern states were represented. Of
this total, Pennsylvania State University
sponsored 70 students. The visiting artists,
Michael Frimkess, Bruno LaVerdiere, and
Richard Shaw, gave slide talks and each
demonstrated his style of working. The
two-day program ended with a forum-type
exchange of ideas involving Frimkess,
LaVerdiere, Shaw and their audience.
!
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Two exhibits were held in conjunction
with the conference. The guest artists exhibited their recent work in the lobby
adjacent to the conference auditorium. A
student invitational, "Supermud," was
shown at the Hammond Gallery on the
campus. This exhibition featured 54 pieces
by undergraduate and graduate students
from Alfred University, Carnegie-Mellon,
Maryland Art Institute, Pennsylvania
State, and the Rhode island School of
Design. Stoneware sculpture shown here is
by Sarah Schneidman of Pennsylvania
State University.
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34
Ceramics Monthly
IOWA CRAFTS: 4
The Iowa Designer Craftsmen held their
annual state-wide crafts competition "Iowa
Crafts: 4" from
October 23 - - N o vember 28 at the
Charles H. MacNider Museum.
Mason City. The
first ax~ard ill ceranfics went to M.
Kent
]eppesen,
Mason City, for
his stoneware entry, "Birth Bowl,"
•
pictured. The second award was
presented to Sharon Martin of Grimes for
her three stoneware entries entitled, "Female USA," "Male USA." and "Lady
Madonna." Honorable mentions in ceramics were awarded to IVilllam Cookson of
Le Mars for his ceramic jar, and to Ed
Harris of Cedar Falls for his "2-Root
Pot." Krisanne Grof[ of Ely won the student award in ceramics for a piece entitled "Mouse Touse Touse." Janet Unione
of Iowa City was named a student honor
mention winner for her ceramic plate. In
the category of other craft media, Fiammetta Hsieh of Ames received second
award for an enamel piece entitled "Sunflower."
The state-wide crafts competition was
open to all artist-craftsmen above high
school age residing in the State of Iowa.
Joan Michaels Paque, noted artist-designerauthor and teacher at Mount Mary College in Milwaukee, Wisconsin, served as
juror for "Iowa Crafts: 4." From the 334
entries, the most ever submitted, by 124
craftsmen from 42 communities, she chose
for showing, 93 works by 65 craftsmen
from 26 communities. Mrs. Paque felt the
competition was keen, that the caliber of
the work entered in the exhibition was
extremely high, and that Iowa crafts would
measure up to the quality of crafts anywhere.
In conjunction with the opening on
October 23, a Fall Crafts Festival was
scheduled. Following the annual Fall meeting of Iowa Designer Craftsmen, Mrs.
Paque presented a slide-talk. This was the
first time a juror for a MaeNider Museum
competition exhibition returned to present
a program and meet with the exhibit participants and public. The Festival continued with craft demonstrations and sales
throughout the Museum facilities.
JAPANESE CERAMICS
An exhibition of Satsuma ware collected
b), the Thomas R. Proctors about 1900
opened in September at Fountain Elms
in Utica, New York, and continued
through December 5. Satsuma, named
after the Japanese province where it was
made, was first made at the end of the
16th century when the feudal prince of
Satsuma brought Korean potters to the
area. Through the 19th century, fine ceramic wares were produced there, using
the native clay decorated with colored
enamels and ffold.
ARKANSAS ART CENTER
Crafts were spotlighted in the recent
Fifth Annual Prints, Drawings and Crafts
Exhibition at the Arkansas Arts Center in
Little Rock. Juror for the show was James
Harithas, director of the Everson Museum
of Art at Syracuse, N. Y., who selected 77
works by 65 artists from a seven-state
region in the south and southwest. A total
of 936 entries were submitted for judging.
The crafts purchase award went to
Continued on Page ,?,5
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• .I
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for his work in clay entitled "Offering
Form with Blossom." Another of his entries
won a purchase award. Both were constructions of thrown forms, matt-glazed in
pastel colors. An additional purchase
award for crafts went to Rosemary Fisher
of Little Rock for her multi-form pot with
iron-red glaze.
CERAMICS IN CHICAGO
An exhibition of stoneware by Jane
Dalton of Glenview, Illinois and Leland,
Michigan, is being shown in the Art Department of the Chicago Public Library
through the month of January. Pictured
from the exhibit is a sculptured stoneware
wall hanging 22 inches in diameter. It is
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Mail Order Service for
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Send inquiries concerning
specific materials to:
rG CLAY and GLAZE Service
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Write for literature on Lapidary Equipment
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Highlighted b y charts, reference tables
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accented by natural-dyed handspun wool
which has been woven through the clay,
then sculptured as an integral part of the
hanging. Miss Dalton is presently a ceramics instructor at the North Shore
Country Day School in Winnetka, Illinois.
In her graduate work at the University
of Michigan, she concentrated on developing apple ash glazes. She has been the
recipient of many awards and honors, one
of the latest of which was an honorable
mention at the Oakbrook Invitational
Craft Exhibition this past summer.
T
FESTIVAL AIDS CHILDREN'S MEDICAL CENTER
The second annual Arts and Crafts Festival sponsored by Children's Medical Center Auxiliary has been set for March 2426 at the Tulsa State Fairgrounds Educational Building. Exhibitors with handcrafted items for sale have until January
15 to submit application. Mrs. ]. Harry
Allen, chairman of the Festival, said, "We
want to offer the public a high caliber
selection of art and hand-crafted works
representing many and varied forms. No
commercially produced items will be considered and all items must be for sale."
The Festival, which last year attracted
exhibitors from a four-state area and over
10,000 visitors, has been expanded to 140
Continued on Page 36
: i++': ""
•"
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P.O. B o x 8 5 6 4
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•
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San Jose, Calif.
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City
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Zip
i l l l l l o o l l o o t l l t l l l l l l l l l l l l t l l l e e e l
January 1972
35
==
CATAL OG
No. 21
• Ceramics
* Stained Glass
• Lamp parts, lighters,
music boxes
• Kemper tools
• M a r x brushes
• Porcelain Flowers
• Rhinestones, jewels,
Starlites
• J e w e l r y Findings,
porcelain blanks
ONE-STOP CERAMICSERVICE
CERAMACTIVITIES
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Continued frern Page 35
LIVERPOOL,NEW YORK 13088
Sorry, no catalog available
booths and longer hours. Applications and
information may be obtained by writing
Arts and Crafts Festival, Children's Medical Center, P. O. Box 7352, Tulsa, Oklahoma 74105.
Gare is dressed to kiln
• . . in stainless steel jackets and a 2-year
factory w a r r a n t y on electrical components.
Check G a r e ' s net prices before you make your
n e x t kiln purehtme and m a k e a k i l l i n g .
NORTH CAROLINA CRAFTSMEN, 1971
Robert Black of Durham received the
first purchase award for a stoneware jar
in the recent judging of the North Carolina Craftsmen, 1971 exhibition at the
North Carolina Museum of Art. This exhibition was sponsored by the North Carolina Arts Council in cooperation with the
museum. Shown is one of the displays in
the show.
Gare Ceramic Supply Co., Inc.
P . O . Box 830, H a v e r h i l l , Mass. 01830
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and JACOUELYN ceramic stains. Classes in
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IN A HURRY FOR CERAMICSUPPLIES7
CALL US (Tues. thru Sat.) We will fill your
order ;mmedlately. 607-432-3812 Complete
general and mold catalogs - - Send $1.00
SEELEY'S CERAMIC SERVICE INC.
9 River St., Oneonta, N.Y. 13820
MOVIN G S O O N ?
U.S. Post Offices will no longer forward
magazines, even if they have your new
address. Your magazine will be returned
to the publisher at a charge of 10c each.
If you move, pleltse notify us at least 4
weeks in advance, giving both new and nld
addresses, and send addressed portion of
y~ur mailing envelope to Ceramics i o n t h y
Box 4548. Columbus, Ohio 43212. (Don't forget
to include your Z I P number on new address.)
P A C I F I C A Potter's Wheels
--many models from kits @
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All models now ready for immediate shipment
Writo:
Box 1407, Dept. C; Feredale, Wash. 98248
3596 Brownsville Rd., P/ttsbgrgh, Pa. 1S227
Other award winners were Elaine Reed
of Raleigh for a stoneware object, and
Paul Minnis of Wendell for a clay relief.
A total of 133 works out of 451 entries
were chosen by judges: George Moldovan,
Barbara Schwartz,, and Charles Counts.
Charles W. Stanford, museum director,
said, "We are proud to present this show,
for in it can be seen how North Carolina
craftsmen today, working in different veins
for new purposes, are continuing the pattern of useful and creative production set
long ago by early residents of the state.
They are maintaining a cherished tradition."
WORKSHOP WITH
The Potters' Guild of the Wallingford
Community Arts Center, in conjunction
with the art schools in the Philadelphia
area, presented a workshop demonstration
with Ruth Duckworth, British potter, in
early November. The demonstration ineluded handbuilding and wheel work. In
conjunction with the workshop, Miss Duckworth gave a slide talk at the Philadelphia
College of Art in an evening program.
PAUL SOLDNER WORKSHOP
The Diablo Valley College Arts and
Lecture Committee presented a four-day
workshop with Paul Soldner in October.
Two of the lectures were open to the
Ceramics Monthly
CERAMICS
DISTRIBUTOR FOR: Paragon Kilns Duncan Glasos.
Underglazes. Blsq-Stain and Molds. IN STOCK:
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POTTERS WHEELS • KILNS
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RUTH DUCKWORTH
Continued on Page 38
36
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ITINERARY
Continued [rom Page 3l
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WAY-CRAFT
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New
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Catalog
Raw Materials
Frits, Glaze Stains
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Clays ~ Blended & Basic
SKUTT, OSCAR-PAUL ,
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CERAMIC EQUIPMENT
WALKER pug mills • LOCKERBIE,
O S C A R PAUL and S H I M P O WEST
potter's wheels. Send large stamped
addressed envelope f o r brochures.
Capital Ceramics, Dept. CM
2174 S. Main St., Salt Lake City, Utah 84115
January 2-February 2 Glass by Boris
Dudchenko; at the Craft Alliance Gallery.
NE%V YORK~ ALBANY
January 22-February 20 "Victorian
Glass," a Traveling Exhibition; at the Albany Institute of History and Art.
NEW YORK, NEW YORK
January 8-29 Ceramics by Emily Rose;
at Jacques Seligman Gallery.
Opening January 22 Exhibition of the
finest craft objects, currently being made
in the United States, initiates the opening
of the American Crafts Council Gallery;
at 44 West 53 Street.
January 27-April 2 "Salt Glaze Show,"
an exhibition of work of eighteen wellknown potters, including Bill Alexander,
Karen Karnes, Don Reitz and Byron
Temple. Technical information will be
featured; at the Museum of Contempora~,
Crafts.
NEw YORK, ROCHESTER
through January 12 Exhibition of recent ceramic work by Bill Stewart; at The
Schuman Gallery.
February 5-27 Jurors Award Show of
ceramics by Val Cushing; at the Memorial
Art Gallery.
NORTH CAROLINA, LOUISBURG
January 8-February 6 "Toledo Glass
National III," a Smithsonlan Traveling
Exhibition; at Louisburg 'College.
Nova SCOTIA, HALIFAX
February 1-]5 "First Canadian National," Student Ceramic Exhibition; at
the Anna Leonowens Gallery.
OHIO, COLUMBUS
January 2-31 Ceramics by Mary
Vaughn, at Helen Winnemore's.
OHIO~ YOUNGSTOWN
the
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FINEST KICK WHEEL MADE
Used by colleges, schools
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Write for new circular to
Parfex Co. -- 7812 Boulder
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January 1-February 27 The 24th Annual Ohio Ceramic and Sculpture Show.
Continuing Ceramic, enamel, and sculpture exhibits change monthly; both at the
Butler Institute of American Art.
ONTARIO~ SARNIA
January "Canadian Ceramics '71," sponsored by the Canadian Guild of Potters;
at the Sarnia Public Library Art Gallery.
OREGON, EUGENE
Continuing Exhibition of work by 35
CLAYS
GLAZES
TOOLS
KILNS
Schools and insfifufions write for
FREE literature.
W e ' r e celebrating
our 20fh year of publication.
artists includes ceramics by Ruth Autio,
Betty Feves, Kenneth Shores, Henry Takemoto, and Peter Voulkos; at the new
Gallery of Contemporary Northwest Art,
•"V[useum of Art, University of Oregon.
OREGON, PORTLAND
through January 12 "Reflections on
Glass" exhibition; Portland Art Museum.
PENNSYLVANIA, PHILADEPHIA
through January 16 "Objects: USA";
at the Philadelphia Civic Center.
Continued on Page 38
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SCHOOLS, INSTITUTIONS and Po'n'ERS.
STANDARD
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CERAMIC
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January 1972
37
GLASSBLOWING
JEWELRY ~
PHOTOGRAPHY
CERAMICS -WEAVING
GRAPHICS -FOUNDRY
2 Four-Week Summer Sessions Offered
to High School Upper Classmen
Held at The Hincldey School, Hinckley, Maine
For further information write to:
Erling H. He|stad, Director
Advertisers Index
CERAMACTIVITIES
.Continued [rom Page 36
|
HAYSTACK-HINCKLEY
SCHOOL
OF C R A F T S
7C Highland Ave., Lebanon, N.H. 03766
THE BANFF CENTRE
SCHOOL OF FINE ARTS
Ceramics Courses-Junior, Intermediate
and Advanced Levels.
Summer Sessions May 22nd thru August ! lth.
Short Courses March thru October.
Other Courses in Visual and Performing
Arts, Crafts and Languages.
For calendar and particulars, write:
Registrar,School of Fine Arts,.Banff,Canada.
when
public, a n d other demonstrations were
open only to m e m b e r s of the Association
of S a n Francisco Potters w h e n Mr. Soldner built a kiln a n d d e m o n s t r a t e d raku.
Diablo Valley College is located at Pleasa n t Hill, .California.
OYO IN COLORADO
T h e l l t h A n n u a l " O w n Your O w n " Art
Show was held at S o u t h e r n Colorado
State College from N o v e m b e r in Pueblo,
Cclorado. Karl Umlau[ of East Texas
University a n d William Alexander cf
Colorado State University served as jurors.
Of the m o r e t h a n 950 entries from Colorado, M o n t a n a , N e w Mexico, a n d Wyoming, the jurors selected approximately
500 items for display a n d sale. F r o m these,
25 juror's awards were given. George
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140.2- 1972 Catalog
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Back Issues
The Jollowing back issues of CM are still
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1962
1970
February
September
October
1971
June
September
October
Please send check or money order to:
CERAMICS MONTHLY
Box 4548, Columbus, O h i o ¢3212
38
Ceramics Monthly
A I M Kilns . . . . . . . . . . . . . . . . . . . . . . .
37
Allcraft . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
Alpine Kilns . . . . . . . . . . . . . . . . .
Cover 2
A m e r i c a n Art Clay Co . . . . . . . . . . . . . .
4
Art C o n s u l t a n t s . . . . . . . . . . . . . . . . . . . .
31
Art-Crafts Supplies, Inc . . . . . . . . . . . . .
31
B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . .
Banff . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bergen Arts & Crafts . . . . . . . . . . . . . . . .
Billiken Press . . . . . . . . . . . . . . . . . . . . . .
Brent, Robert, Potter's Wheels . . . . . . . .
35
38
36
35
7
Campbell, G i l m o u r . . . . . . . . . . . .
Cover 3
Capital Ceramics . . . . . . . . .
t .........
37
Central New York Ceramic Supply . . . . 36
Ceramic Coating Co . . . . . . . . . . . . . . .
10
Ceramichrome .....................
9
Creative Industries . . . . . . . . . . . . . . . . .
5
Creek-Turn ........................
36
Cross Creek Ceramics . . . . . . . . . . . . . .
36
Dawson, W. P . . . . . . . . . . . . . . . . . . . . .
Dial-A-Glaze . . . . . . . . . . . . . . . . . . . . . .
D u n c a n ' s C e r a m i c Products . . . . . . . . . .
36
6
3
Estrin Mfg. Co . . . . . . . . . . . . . . . . . . . . .
Evenheat ..........................
36
37
Francoise Ceramics . . . . . . . . . . . . . . . . .
36
Gare C e r a m i c Supply Co . . . . . . . . . . . . .
Geonell's . . . . . . . . . . . . . . . . . . . . . . . . . .
36
34
Haystack-Hinck ley School of Crafts . . . 3 8
Hiro Distributors . . . . . . . . . . . . . . . . . .
4
SPECIALISTS
LEADING LINES OF KILNS (gas and
electric), WHEELS, TABLES, PUG
MILLS AND TRUCKS.
Southern Sales Office covering southeastern
U.S. ~ H.G., Tenn. and all states soufhl
PAUL STROMGREN & ASSOCIATES
January 1972
Vance of Boulder, Colorado a n d tlenry
Lyman, Jr. of Helena, M o n t a n a received
the juror's choice in ceramics, a n d David
Cornell of the Archie Bray F o u n d a t i o n
was a w a r d e d the best of show for a h a n d
blown glass form, pictured on the left.
T h e 25 per cent commission allotted
from the sales in this exhibit will be used
to aid a n d encourage capable art students
at the school.
ITINERARY
Continued [rom Page 37
SOUTH CAROLINA~ CLEMSON
January 14-February 6 T h e State Art
Collection; at the College of Architecture,
C l e m s o n University.
SOUTH CAROLINA, COLUMBIA
January 6-23 Springs Mills T r a v e l i n g
Art Show.
January 15-February 13 " C o n t e m p o r a r y
Finnish Design by T a p i o Wirkkala," a
T r a v e l i n g Exhibition of the S m i t h s o n i a n
Institution; both at the C o l u m b i a M u s e u m
of Art.
TEXAS, HOUSTON
January lY-February 13 Chinese Gold,
Silver a n d Porcelain from the K e m p e Collection; at T h e M u s e u m of Fine Arts.
WISGON SIN~ MADISON
January 21-~farch 19 "Glass: A r t Nouv e a u to A r t D e c o " ; in the B r i t t i n g h a m
Galleries.
I n l a n d Metal . . . . . . . . . . . . . . . . . . . . . .
31
Jay-Bellman . . . . . . . . . . . . . . . . . . . . . . .
Jacqueline Ceramic Art . . . . . . . . . . . . .
10
8
K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . .
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31
34
35
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35
M a y c o Colors . . . . . . . . . . . . . . . . . . . . . .
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11
33
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37
33
37
Pacifica Potter's Wheel . . . . . . . . . . . . .
P a r a g o n Industries . . . . . . . . . . . . . . . . .
P a r a m o u n t Ceramics . . . . . . . . . . . . . . . .
Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . .
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R G Clay a n d Glaze . . . . . . . . . . . . . . . .
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R o v i n Ceramics . . . . . . . . . . . . . . . . . . . .
31
8
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Seeley's Ceramic Service . . . . . . . . . . . .
36
Skutt C e r a m i c Products . . . . . . . . . . . .
35
S t a n d a r d C e r a m i c Supply Co . . . . . 35, 37
Stromgren a n d Associates . . . . . . . . . . .
38
T e p p i n g Studio Supply . . . . . . . . . . . . . .
T h o m p s o n , T h o m a s C., Co . . . . . . . . . .
34
4
U n i q u e Kilns . . . . . . . . . . . . . . . . . . . . . .
34
V a n H o w e Ceramic Supply . . . . . . . . . .
38
W. M. S. Potter Wheels . . . . . . . . . . . .
8
Walker J a m a r Co . . . . . . . . . . . . . . . . . .
35
Wallis Designs . . . . . . . . . . . . . . . . . . . . .
36
Way-Craft .........................
37
Westby Kilns . . . . . . . . . . . . . . . . . . . . . .
12
Westwood Ceramic Supply . . . . . Cover 4
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Art & Craft Centers
For Hobbyists ~ Schools •
Institutions
Manufactured by GILMOUR CAMPBELL - 14258 Maiden - Detroit, Michigan 4821:3
KINGSPIN Electric Banding Wheel
• Heavy Kinalloy 7-inch table
• New ~ with height trimmer
• Solid cast aluminum case
• 110 volt motor, ~5 RPM
• On & Off switch, 8-ft. cord
• One-year service guarantee
• For light throwing
Model E-2 . . . . . . . . . . . . . $ 2 4 . 9 5
E-2T with trimmer . . . . . . . . . . $26.95
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NEW with Wagon Wheel Base • Top and base are cast Kinalloy
• Top measures 61/4'# • Shipping weight q Ibs.
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$4.95
With 7-1nch table
Model W-7 . . . . . . . . . . . . . . . .
$5.50
With 8-inch table
Model W-8 . . . . . . . . . . . . . . . .
$7.50
With 10-1nch table
Model W-10 . . . . . . . . . . . . . . .
$9.95
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Mode~E-~T
Model W-6 only . . . . . . . . . .
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(More power for light throwing)
.$28.50 ....~
E-3 less trimmer
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KINGSPIN Kinolite Turntable
KINGSPIN Kinalloy Turntable
New 12-1nch model with many uses • A 12-inch wheel for the price
of an 8-1nch • Made of KINOLITE ~ latest slnktop material used
in newest homes • Heavy Kinalloy round base • Just the thing
to use on those lace dolls.
• 10" model
• Heavy KINALLOY Table
• Heavy Kinallay round base
III ........
With Wagon Wheel Base
Model W-12 . . . . . . . . . . . . . . .
Medal KR-7 . . . . . . . . . . . . . .
$6.S0
$6.50
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With 7" Table
With 12-1nch Aluminum Table
$16.95
Model A-12 . . . . . . . . . . . . . . .
Model
T-12
$7.50
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$8.75
Model KR-8 . . . . . . . . . . . . . . .
With 8" Table
Model KR-10 {shown) . . . . . . $11.25
KINGSPIN Lowboy Steel Wheel
KINGSPIN Steel Wheel
• Our Economy Model • Kinalloy
Bearing • Easy Sp~nn~ng • Zinc
Plated-Rustproof • 7" Steel Top
& Bottom • Highest Quality •
Low Price
• Our Economy Model
• Kinalloy Bearing
• Knurled Stem
• Easy Spinning
• Zinc Plated ~ Rustproof
This new model may be used as a
mold stand, for clay modeling or
as a decorating wheel in spray
booth.
Model
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• 7" Steel Top & Bottom
• Highest Quality
• Low Price
$3.25
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• Easy Sp~nnlng
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$3.50
Model S only . . . . . . . . . . . . .
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The most
misunderstood convenience
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of the Shimpo-West RK.2
potter's wheel
Shimpo-Wes t is concerned with more than producing a potter's wheel which simply revolves.
Consideratio n for the potter and his needs while using the wheel is of primary importance in our
planning. The Hand Speed Control is an example of an extra feature we provide for the potter's
convenience . This could have easily been left off the RK-2 and you would not have noticed it's
absence. However, if you were to ask any potter who uses our wheel, you would find that he will
not be without this control.
In terms of accessibility and ease of adjustment there is nothing like the Hand Speed
Control. Try it! You will.find that it is just one of the "misunderst ood convenience s" which make
Shimpo-Wes t RK-2 potter's wheels so popular.
SF~tl~,4po WEST p O
BOX 2315 LAPUENTE
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