Here - Ceramic Arts Daily

FEBRUARY
1966
60c
1966 CERAMIC SPECTACULAR
II IJ II II!QIII
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Washlnq
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n, D. C.
National Ceramic Manufacturers
Association (NCMA)TRADE
SHOW July 14-15-16
and National Ceramic Association (NCA) CONFERENCE July 12-13-14-15
Sheraton-Park Hotel and M o t o r Inn - Washington, D.C.
The year's greatest event in ceramics far Distributors, Dealers and Teachers.
SALES MEETINGS
DEMONSTRATIONS
NCA SPONSORED EDUCATIONAL SEMINARS
MAJOR CERAMIC MANUFACTURERS
Booth ~
1-5
6
7
Name
Duncan
Kay Kinney
Mickie Stains
Charl Stains
8
L & L Mfg. Co.
9
10-11 (to be assigned)
Ceramic Colors
12
Atlantic Molds
13
Jaygot
14
Ceramics Monthly
15
16-19 Duncan
20-22 American Beauty
BUSINESS SEMINARS
LARGEST GATHERING OF
EVER TO EXHIBIT
Exhibitor's List to Date
Booth :~ Name
Booth @ Name
23
Arnel's Molds
37-38 Ceramichrome, Inc.
24
Popular Ceramics
39
Cunningham Art Prod.
25
(to be assigned)
40-41 Rainbow Stain
26
Alberta's Molds
42
Blue Diamond
27-28 Skutt & Sons
43
Ken 0corr Molds
29-30 Pemberton-Neal
44-45 Gare Ceramic
31
Evenheat Kilns
46
Ceto
32
Jacquelyn
47
Orton Cones
33
Blair Products
48
J. J. Cress
(to be assigned)
49
Arts & Crafts
34
35
Ceramic Scope
50
Ceramic Trade News
National Art Craft
51
36
Marx Brush
For I n f o r m a t i o n w r i t e :
Booth :l~ Name
52
Kemper
53
(to be assigned)
54
Mayco Colors
55
Willoughby
56
(to be assigned)
$7
Holland Mold
58
Paragon Kilns
59-61 Reward Ceramic
62-64 (to be assigned)
6S
White Horse Mold
Mrs.Olevia Higgs, Show Chrn., 6811 Washlngfon Blvd., Elkridge, Md.
Don't buy a kiln
unless it can pass this "quiz."
Does it have a comprehensive
operational manual ?
Y E S NO
[][]
The manual should tell you how to uncrate
and set-up the kiln. It should also be fully
illustrated, cover electrical requirements, firing,
loading, trouble shooting, m a i n t e n a n c e . . .
and it should have a complete parts list
and wiring diagram.
is it listed with Underwriter's
Laboratories ?
You should be able to unload a medium
sized kiln after 12 to 15 hours, barehanded.
The automatic shut-off should be built-in
at the [actory to assure permanent alignment.
UD
EJ [ ]
You should take a long, hard look
inside the switchboxes of all leading brands.
Inspect the materials, component parts and
workmanship. Your eyes will tell you if the
switchbox is right.
is maintenance easy ?
[]EJ
Inspect the kiln to be sure it has
full-trough grooves--and the elements are
secure, (the elements should be secured
with pins at each corner).
Be sure the kiln has a dust-proof lid.
Full-trough grooves are also a safeguard
against dust.
Does it have a reversible
bottom slab?
[] []
Be sure that the firebricks are exposed
on both sides of the kiln floor. Why? If
something happens to one side, just
flip it over.
[] []
In other words, does it have a
stainless steel jacket. There's nothing more
exasperating than to have tiny rust particles
ruin a beautiful piece of ceramics.
[] []
is it free from "hot corners ?"
[][]
The multi-sided design eliminates this
problem, and is also stronger and more
crack resistant than square kilns.
Does it have a two-year,
written guarantee?
This feature goes hand-in-hand with
maintenance. A kiln should be easy to assemble
and re-assemble. All parts should be light
enough for a woman to lift and carry.
Time spent moving a kiln should be measured
in minutes--not hours.
Will the elements stay in
the grooves ?
[] []
Is it dust-proof?
is it rust-proof?
A simple task like replacing a firebrick
can become an all-day job unless the kiln is
designed for easy maintenance. Look for a
kiln that's made in sections. The sections can
be separated, making every part of the kiln
easily accessible.
is it portable ?
[] []
Is the automatic shut-off built in ?
This is for your own safety. Remember,
kilns are an electrical appliance. Who knows
more about the safety of electrical appliances
than Underwriter's Laboratories?
Can it pass the "Switchbox" test ?
yes No
[] []
Can you fire it every day without
forced cooling?
[] []
This is a must. A ceramic kiln is a considerable investment. Protect your investment by
ms,sting on a two-year, written guarantee.
[] []
is it versatile ?
[][]
As you become more experienced and
proficient in the art of ceramics, you'll want
to undertake a broad spectrum of new and
different creative challenges. So be sure to
choose a kiln that will fire to at least Cone 6
for porcelain and stoneware.
The perfect score is 14 yes's.., and no no'st Skutt Kilns
have a perfect score. Don't settle for less. For more information write:
Skutt & Sons, Inc., 2618 S.E. Steele Street, Portland, Oregon 97202.
February 1966
3
Presents...
f
N EW
GLAZ
16 Fantastic new
7
WOODTONES
CRYSTALTONES
J u s t walt until you see them . . . . m e r e words can not fully d e s c r i b e their unusual
and exciting beautyl Most o f t h e a n a r e r i c b , satin glazes with background tones of
soft blue, grey or pearl white with delicate complimenting c r y s t a l s that " f e a t h e r "
out like failing snowflakes while others have deep, exciting backgrounds of frosted
blues, brown, mustard and blue green with c o n t r a s t i n g c r y s t a l s that flow out Into
a riot of tantalizing colors. Application is " e a s y as p i e " for the entire beauty
s e c r e t is all in a " s i n g l e j a r l " Just s e e them and we know you'll want them
RIGHT NOWI
20031 Spanish Influence 95¢
80¢
20032 Sleepy Lagoon
20033 Terrazzo
80¢
80¢
20034 Gold Rush
95¢
20035 Primitive Fire
20036 Woodland Magic 8 0 ¢
95¢
20037 Mardi Gras
80¢
20038 Charade
20039
20040
20041
20042
20043
20044
20045
20046
Voodoo
Confetti Spice
Paisley
Cotton Candy
Spring Meadow
Calypso
Smoky Agate
Moon River
80¢
80¢
80¢
80¢
80¢
95¢
80¢
80¢
Truly exceptional "waod finish" glazes. So r e a l i s t i c , you'll have to look twice and
touch them to tell if they a r e c e r a m i c or r e a l wood. Color range is delightful.
From deep dark polished mahogany to warm glowing birch plus a fascinating
driftwood.
So that you can actually " c o n t r o l " the " d l r e a t i o u " or pattern of your "'wood
g r a i n " , these new glazes a r e TI lICKER than Duncan's other fine glaze. The thickhess actually extends the " l o n g s t r o k e " brushing quality that is n e c e s s a r y to
capture a true "wood grain ' effect. F o r m o r e detailed s u r f a c e s , they can be
easily fllthned with a little water so that you can work them down into the grooves.
Application is a little different than other glazes but not at all difficult. J u s t r e m e m b e r to "'BRUSIt OUT" each coat t o a T H I N coat using p r e s s u r e as you brush
to c r e a t e the beautiful " g r a i n e d " effect. You can apply these new Duncan WOODTONES to g r e e n w a r e or bisque and fire tocone 05-06. Ask to see them TODAYI
20047 WALNUT
20050 MAHOGANY
20048 FRUITWOOD
20051 REDWOOD
20049 HICKORY
20052 BIRCH
20053 DRIFTWOOD
a v a i l a b l e in 4 o z . Jars & P;nts O n l y
4 oz. J a r - - 7 5 ¢
PINTS--2.40
a v a i l a b l e in 4 oz. Jars O n l y
NOW
AVAILABLE
AT Y O U R
NEAREST
DUNCAN
DISTRIBUTOR
For Better
More Consistent
Results
ORTON
REWARD-HART
Problems with your present glazes? Through research, Reward and Hart has eliminated the difficulties most frequently encountered in application
and firing of ceramic glazes. Reward, the most
duplicated line of quality controlled glazes, is your
assurance of the finest glazes available anywhere.
Reward - - first in color, textures and finishes.
REWARD
CERAMIC
COLOR
MFRS.
INC.
6811 WASHINGTON BLVD. ELKRIDGE 27. MARYLAND
4 Ceramics Monthly
Standard Pyrometric
CONES
O r t o n cones a r e y o u r guide to m o r e u n i f o r m l y
f i r e d w a r e . H e r e is a leaf f r o m i n d u s t r y ' s book
t h a t y o u can use. F o r c o m p l e t e details on t h i s
economical control m e t h o d see y o u r dealer or
w r i t e direct.
R~qu,~st your free copy of "'ProperticJ and Uses of Pyrometric CoNes"
The Edward Orton, Jr. Ceramic Foundation
1445 Summit Street
Columbus. Ohio 43201
~
M O N T H L y
V
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F e b r u a r y 1966
Volum e 14, N u m b e r 2
If You Want
High Green Strength, Low Shrinkage
And Good Colors
IMACCOSTONEWARECLAY
Is The Answer
Letter s to the Edito r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Available In
Answ ers to Quest ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sugge stions from Our Reade rs . . . . . . . . . . . . . . . . . . . . . . . .
I0
Itiner ary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11
KELLY-MOOREPAINT STORES
5th & Junlpero
P. O. Box 2776
Carmel, California 9392!
(408) 624-8282
m___1 3
Jane Parsh a]l and Denis Chase k by Roger D. Bonha
ation
Parsh all and Chase k Demo nstrat e: Clay Inlay Decor
16
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m
]3onha
by Roger D.
4555 Manzanita Avenue
Carmlchael, California
(961) 482-7600
Cut-O ut Shape s for Enam eled Wall Pieces
19
by Polly Rothe nberg ..... ..... ..... ..... ..... ...
..... . 22
Throw ing A Squar e Vase by F. Carlton Ball.....
.... 26
Show Time: Wiscon sin Crafts ..... ..... ..... .....
959 W. CoJlege Avenue
Santa Rosa, California
(707) 546-0863
..... 28
Printing with Plastic F o a m by Marc Bellaire......
1219 South Industrial Blvd.
Dallas, Texas 75207
(2 t 4) 748-9041
Chang ing the Fusio n Levels of Glazes
. 31
by Richar d Behre ns ...... ...... ...... ...... ......
CeramActivities
302 West Indian School Rd.
Phoenlx, Arizona 85013
(602) 277-4891
...... ...... ...... ...... ...... ...... . 32
...... . 38
Ceram ic Shopp er ...... ...... ...... ...... ......
.... 38
Index to Advertisers ...... ...... ...... ...... ......
On Our Cover
T. Samson,
"Horse and Rider," stoneware sculpture by James
ftsmen
er-Cra
Design
nsin
was an award winne r in the 45th Wisco
(see
Center
Art
ukee
Milwa
the
at
ber
Novem
in
held
ition
Exhib
and
high
inches
21
is
which
piece,
Show Time, page 26). The
n is a
20 inches long, is partia lly glazed in gray-b lue. Mr. Samso
River
memb er of the art faculty at Wisconsin State Univeisrsity,
a painte r,
Falls. In additi on to his work in ceramics, he also
e part
printm aker and sculpt or. "Horse and Rider" will becom
tion.
Collec
nent
Perma
's
of the Milwa ukee Art Center
Also
Kelly-MooreHome ImprovementCenters
901 Old County Road
San Carlos, California
(415) 591-9611
415 E. Gutierrez St.
P. O. Box 1200
Editor: THOMAs SELLE RS
Art Director: ROBERT L. CREAOER
Business Manager: SPENCERL. D^vzs
Circulation Manager: MARY RUSHLV.y
Santa Barbara, California
(805) 962-0041
424
rd
Advisers and Special Contributors: F. Carlto n Ball;rdt;Richa
Zena
Behren s; Mare Bellai re; Kathe Berl; Edris Eekha
Wood.
Hoist; John Kenny ; Karl Martz ; Ken Smith ; Don
Associates,
Western Advertising Representative: Joseph Mervi sh Califo
rnia.
ood,
Hollyw
North
211,
Suite
n,
Canyo
l
4721 Laure
213.
Code
Area
556,
TR7-7
Teleph one:
San Luis Oblspo, California
(805) 543-4.754
700 South Miller St.
P.O. Box 399
Santa Maria, California
(805) 925-2543
Copyright 1966 Professional Publications, Inc.
HLY
February
1966, VoI. 14--No• 2. Published
CERAMICS MONT
ional Publica tions,
monthl y e:x.cept July & August by Profess
m
417G N. High Street , Inc.
Columv• 2. u a w s , yres•, p . S. Emery, See•; a t m
a t t e r a t the post office at
bus, Ohio 43214. Entered as second class
~io~
"**ears
Two
,
~
r
n~. ~
~::s; o~o.~ l~ ~,v~: ~:o~o us~. ' x .' Orzgnts
ilm copies
reserve d. Microf
- ........
•
Microfi lms 313 N. First
are availab le to subscri bers from Univer sity
dealing
tions
illustra
and
TS
SCRIP
MANU
St., A n n Arbor, Michig an•
e and will be conside red for pubwith cerami c a r t activiti es a r e welcom
from
e
g
n
a
r
and
spaced
doubletyped
be
lication . Manusc ripts should
ripts and cOrresp ondenc e about them
500 to 2000 words. Send manuscHLY,
us,
Columb
Street,
High
N.
417G
Editor, CERAM ICS MONT
to the43214.
Ohio
Santa Barbara Ave.
P. O. Box 192
INDUSTRIAL MINERALS & CHEMICALCO.
836 G i l m a n
St.
•
Berkeley
10, C a l i f .
•
Phone S2A-2T0 0
•
Code 415
Febru ary19 66
5
LETTERS
Share your thoughts with other GM readers--b e they quip, query, comm ent or advice. All letters must be signed, but names
will be withhe ld on request. Address: The
Editor, Ceramics Month ly, 4175 North
High St., Columbus, Ohio 43214.
DECEMBER PORTFOLIO
I have just settled down for a compl ete
read-t hrough of my Decem ber copy of CM
and decide d to write and give my thanks
for anothe r good job by your staff and
writers . T h e cover is splend id (and a welcome change after the Novem ber one!)
and so is the Portfo lio on Athen ian Vases.
I believe that this is the best accoun t I
have yet read of this fascin ating pottery
and Mr. Noble is to be congra tulated on
his clear and beauti ful writing . I was
fascin ated to read of his backg round in
your Ceram Activi tles colum n. Let's have
more materi al by this writer!
Mrs. C.W. Webb
Seattle , Wash.
RAISE THE STANDARDS
Ceram ics is like too many other are
such as amate ur paintin g, etc., where hobbyists expect to "learn how" in ten easy
lessons . I have a college major in cerami cs,
plus a B.A. in art, and I feel I've only
begun ! Why can't we convey the idea that
good design and creativ e results in
cerami cs or any other art, canno t be
obtain ed by follow ing poor teache rs, untrained in design , who simply pass on the
tricks some teache r before hande d on to
them ?
It is easy to spot the amate ur musici an
or dancer , and certain ly no one is going
to produc e a play writte n by an amate ur
playwr ight. Why then do we as a public
accept almost anthing in cerami cs or painting? Is it not the respon sibility of TV,
magaz ines such as yours, and art teache rs
in school s to raise the standa rds of public
taste by showin g the best in the arts and
not the poor or medio cre, just becaus e
a lot of people don't know the differe r.ce?
Mrs. ]anetta Neiwn
Olalla , Washi ngton
COLUMNS USEFUL
I enjoy the var;ety of article s you have
in the magaz ine, hut if I had to choose
betwee n article s and depart ments, I believe I would take the colum ns of information I actual ly find so much useful informat ion in the Sugges tions, Questi ons
and even the Letters , that they seem to
be writte n for me alone! Whate ver you
do in the New Year ahead, don't aband on
those wonde rful depart ments!
Mrs. Anderson
Oaklan d, Calif.
151/2 Years O l d - - A n d
NOVEMBER COVER: PRO AND CON
I have enjoye d CM over the years as
a source of inform ation, new techni ques
and good middle -of-the -road examp les of
the contem porary cerami cs scene. Imagin e
my surpris e when I receive d the Novem ber
issue and saw the imagin ative and lively
teapot on the cover! Congr atulati ons on
unben ding a little bit, CM . • • I hope
now that you'll let your reader s see more
of what is really going on among the
young er potters around the countr y.
G. V. Morris
Washi ngton, D.C.
In order to acquai nt my studen ts in
the senior art classes with contem porary
cerami cs design , and to keep abreas t of
new techni ques, I asked our librari an to
subscr ibe to your magaz ine. From past
experi ence I have found it a good source
of design , good examp les of functio nal
cerami cs, honest treatm ent of materi al and
a straigh t-forw ard approa ch to the problems of workin g with clay.
Howev er, I must say that I am disappointe d with the recent trend to give
public ity to much that seems to me completely lackin g in craftsm anship , design ,
functi on and simple good taste.
I am particu larly bother ed by the awful
specim en on the cover of the Novem ber
Sti ll Gro win g
W e have mov ed to our
NE W ,
LARGER
BUILDING
at 1011 Nort h Holly wood Stre et, here in Mem phis (only
abou t a half mile from old loca tion)
Expanded facilities will enable us to serve you even
more efficiently than we have in the past - - with more
help, larger inventories, and the most modern equipment in the Cera mic Industry.
ho us e
of ce ra m ic s,
1Oll N. Holly wood St., Mem phis 8, Tenn.
6 Ceramics Monthly
inc.
(1965) issue, and the two appalling things
in the middle of page 19. These look as
if they had been made by a mentallyretarded child, and I find it impossible
to justify such rubbish to my students.
A NEW ART FILM SERIES...
Vito Cianci
Victoria, B.C.
The November issue is a beauty! The
British Craft Shop story is interesting and
stimulating, with fascinating information
on sales and pricing. I must also comment
on "The Teapot." The Wildenhain and
Soldner teapots are, to me, exquisite,
gracious and joyous. The Stull and Leedy
pots certainly are provocative forms, but
I don't like to be provoked while drinking tea. They would be more in keeping
at the Mad Hatter's Tea Party.
Ceramics
Creative
Produced in collaboration with Carlie Tart, Director,
Tahara National School of Ceramics Arts and Crafts
Three classroom demonstrations in the junior and senior high
schools of Sunnymead, California.
1. CREATING WITH CLAY (EJ) Fundamentals of student expression, including wedging, pinch bowls, coils, slabs, string
sculpture, pugging, decorating, natural forms.
Sally Gallaway
2. USING THE BANDING WHEEL (EJ) Learning to solve
problems and discovering the reason behind the creative process.
Decorating textures, underglazing, sgraffito design, simple tools.
Indianapolis, Ind.
MORE THAN CONTENT
3. POTTER'S WHEEL AS A TOOL (EJS) Introduces the potter's wheel. Demonstrates effective method of "throwing by the
clock." Forming and decorating cylinders, bowls, and plates.
Since I am sending in my renewal order
I thought I would take a few minutes
for a note about the magazine. I have
been subscribing for a number of years
now and have enjoyed every issue. Some
of the articles appeal to me more than
others, but you do seem to strike a remarkable balance to fill every need. I am
selfish enough to want more on decoration techniques and less on glaze formulas, but I am aware that you have many
other readers who want just the opposite.
As long as there is one article per issue
that interests me, I will be more than
content!
Ann Robinson
Hollywood, Calif.
Two detailed studio demonstrations by Mr. Tart. Many slow
close-ups, and overlay titles.
motion scenes, extreme
(JSC) Sticking, mastering, centering, opening, raising, trimming, and choking basic
day forms.
4. BEGINNING WHEEL TECHNIQUES
5. BASIC WHEEL FORMS (JSC) Approaching the potter's
wheel from an aesthetic viewpoint, showing how expressive a
potter can be through the cylinders, bowls, and plates he creates
on the wheel.
Films 1, 2, and 3 are each 11 minutes, 16mm sound and
color. Sale price $120, 3-day rental $6.
SUMMER PLANS
Do you have any source material that
lists summer schools for ceramics?
Films 4 and 5 are each 16 minutes, 16ram sound and color.
Sale price $170, 3-day rental $10.
B.E. Carlos
Boulder, Colo.
CM will start its listing o[ Summer
Workshops with the March issue.---Ed.
To order prints, for further information, or for free catalog, write to
oYO SHOWS
I was very pleased to receive a copy of
the December issue of CERAMICS MONTHLY in which you feature the OYO (OwnYour-Own) exhibitions, including photographs from our last year's exhibit. I am
sure this will be a popular and interesting
page and congratulate you on conceiving
it.
Our Contemporary Crafts for Christmas
Giving Exhibit has been attracting a record number of visitors. We had 300 people
attend the Opening and since then the
count is 1500 to see the show. We have
sold practically everything in the show
with the exception of a few pieces of
furniture. In addition, the Craft Committee Sales project in what we call our
continuous display of crafts for sale, is
also receiving enthusiastic response from
many visitors and we have sold a number
of items from that exhibit. This project
promises to be successful sooner than
we expected. Mrs. Marion F.T. lohnson
Education Director
Delaware Art Center,
Wilmington, Del.
BAILEY FILMS, INC.
6509 De Longpre Avenue
J
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Hollywood, California
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90028
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Regional Rental Sources for "Creative Ceramics"
University of Illinois, Visual Aids Service, Champaign, Ill.
Penn State University, Audio-Visual Library, University Park, Penna.
University of Minnesota, Audio-Visual Service, Minneapolis, Minn.
Eastern New Mexico University, Film Library, Portales, N. Ivl.
Buffalo State College, Film Rental Library, Buffalo, N. Y.
Syracuse University, Audlo-Visual Service, Syracuse, N. Y.
Oregon State University, Audiovisual Services, Corvallis, Ore.
and of course
Bailey Films, Inc., 6509 De Longpre Avenue, Hollywood,
Calif. 90028
February1966
7
Answers to
QUESTIONS
C o n d u c t e d by the C M
EXCITING
PORCELAIN
ENAMEL
COLORS
by Thompson
~
~
o ~.~ ;
~
~
Over 200 colors are featured in
the "Color Guide' section of the
new Thompson Catalog - - printed
reproductions of opaque, transparent, opal and crackle enamel
colors awaiting your selection to
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Thompson, the world's largest
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more than 70 years, offers everything necessary for your enameling
wore in th|s extensive catalog
instruction books on enamel work
and glass craft, glass aggregates,
copper pieces in a wide variety of
sizes and shapes, tools and malerlals. Whatever your needs, you'll
find them pictured in the Thompson
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for your ordering convenience.
The latest Thompson C a t a l o g
with the "Color Guide" is yours
absolutely free. Simply send in the
coupon below. Do it today and be
prepared for new ventures |n
enameling via Thompson|
THOMAS C. THOMPSON CO., Dept. CM
1539 Old Denrfleld Rd., Highland Park, IlL 60036
Please rush my FREE catalog of eompleto enameling craft
supplies with Color Guide today.
NAME
ADDRESS
CITY.
8
Ceramios M o n t h l y
STATS
ZIP.__
Technical Staff
(~ How can 1 restore glazes, underglazes and slips that have
dried up?--Mrs. D.K. Norwalk, Conn.
Water can be added in the jars to cover, then allow this
to stand overnight or even longer. Stir well and add more
water if needed. It may be necessary to pass the mixture
through a screen in order to break down all of the lumps. You
may be interested in a suggestion from a reader who reports
that she uses a carbonated soft drink instead of water in order
to hasten the softening action. There is no i l l effect on the
materials involved.
Is there any way to remove a piece of kiln wash from the
glazed inside surface of a bowl? I made the mistake of
applying kiln wash on both sides of my kiln shelves, and
naturally a piece of the wash dropped onto one of my pieces
during the firing/I would like to salvage the piece if it possible.
--Mrs. W. M., Winnetka, Ill.
If the piece isn't too valuable to you, it would be best to
discard it and chalk it up to "experience." About the only
method that would do any good at all would be to use an
electric grinding wheel and attempt to grind out as much a s
possible. The scar will still be there, but you might salvage the
piece by applying an opaque glaze over the existing glaze and
refiring the piece.
On a trip through Europe this summer 1 visited the studios
of several potters and was surprised to find that almost all
of them were using a yellow form of lead for their glaze work.
I have been familiar only with the white lead and would like
to know what this yellow lead is and why I never see it
here.--W.C., Lynchburg, Va.
The yellow form of lead is called "litharge" or lead monoxide. It is not used much in this country among studio potters
because it sometimes contains impurities and also because it
has a larger particle size than the white lead.
0
The children in my art classes recently completed a large
mosaic for the classroom. Materials used included ceramic
tesserae, pebbles, wood chips and stained glass. All of these
materials worked out very well, with the exception of the glass.
The glass colors were very brilliant when we were working
with them, but quite disappointing when laid in the mortar. Is
there any method /or preserving their colorful effect for mosaic
work?--M.L.G., Detroit, Mich.
Stained glass must be given a shiny backing if it is to
reflect the light when set into a mosaic. This can be done
easily by painting the back side of the glass with silver or gold
paint, or by applying silver, gold or aluminum leaf to the back
of the glass with egg set.
We have considered making some coin banks in animal
shapes as a classroom project, but most of the methods
recommended seem too involved. Would it be possible to shape
clay around a paper core and leave this inside for firing? We
know that the paper would burn out during firing, but would
it have any adverse effect on the clay?---Mrs. B. G., Highland
Park, Ill.
This method is a good one and should give you no trouble
at all if you allow the clay pieces (and the paper) to dry
thoroughly before they are bisque fired.
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 Question Editor, CM 4175 N. High St., Columbus, Ohio
43214. Please enclose a stamped, self-addressed envelope.
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on
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1183 7 TEALE ST.
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CULVER CITY, CALIF.
%~
lemecol
I
SUGGESTIOrsNS
fromour reade
78 RPM THROWING BATS
the
leader
in kilns
check Ihese
firslsi
s
Firs t--t o manufacture electric kiln
for schools.
Firs t--t o offer UL and CS A approval.
Firs t--t o furnish spr ing -ba lan ced lids
on top loading kilns.
ding,
Firs t--t o give a choice of front loa
top loading or hobby kilns.
ents.
Firs t--w ith enclosed heating elem
ant ees
Firs t--t o offer kiln reg istr atio n--g uar
replacement parts regardless of
year or model.
Firs t--w ith fused safety switches as
standard equipment.
FR EE --N ew 1966 catalog
sand Equipment:"
"AmacoPotteryand Metal EnamelingSupplie
r
phon ogra ph reco rds mak e
Disc arde d 10- or 12-i nch rpm
for the whe el The y are 'read yvery satis facto ry thro wing bats
ble and usua lly obta inab le at
mad e,' easy to store , fairl y dura stores, junk shops or whit e
little or no cost from ~'ee ond- hand
, Md.
--M rs. R.A . Mal mgr en, Bethesda
elep hant sales.
ZES
CORRECTING PINHOLES IN GLA
r own glazes are both ered
Man y hobb yists who mak e thei
g.
olin Pinh olin g is the pres ence
by a com mon defe ct calle d pinh and this may be caus ed by
e
glaz
a
in
les
of very tiny bubb
filin g does not give the norm al
firin g the kiln too fast. A fast
trap s them in the glaz e in the
gases a chan ce to esca pe, but
corr ect this, the kiln shou ld
To
form of the min ute bubb les.
a muc h long er time on "low "
be fired in a slow er cycl e, withto "hig h."
ing
turn
re
befo
and "me dium "
--A. C.N ., Louisville, Ky.
TO MAK E HOLLOW SPHERES
res mig ht be of inter est
Our met hod of mak ing holl ow sphe
res as the basi c form s
sphe
e
thes
use
We
ers.
to som e of your read
banks. We roll our
ing
mak
for
for crea ting anim als, part icul arly
, then drap e a slab over the
clay slabs abou t ~ inch thick
is cove red with chee secl oth
roun ded end of a ligh t bulb that to mak e it conf orm to the
n
dow
ed
patt
is
or foil. The clay
cut off belo w the wide st part
bulb shap e, then excess clay is
to sllp the half -sph ere off the
of the bulb . This mak es it easy
the proc ess to mak e anot her
at
repe
bulb and set it asid e. We
piec es toge ther with som e clay
half -sph ere, then join the two
basi c form is adde d to mak e
This
.
slip and a thin coil of clay
s, trun ks, snouts, tails, etc.,
the anim als. We add feet, head clay. Whe n the form ing is
of
es
piec
all mad e from pinc hed- out
coin slot and set the bank
the
for
ing
open
the
e
done , we mak
At that time we do the
e.
stag
ard
er-h
asid e to dry to the leath
fire, glaz e and glaz e
ue
to bisq
clea n-up need ed, and proc eed
and chil dren like to
le
simp
and
-fire
fire. The met hod is sure
Dearborn, Mic h.
M.,
L.L.
rs.
--M
work with this tech niqu e.
NTS
TO CATALOGUE GLA ZE EXPERIME
and Scha effle r artic les,
In conj unct ion with the Aron son . thro ugh June , 1965 ),
(Feb
"Ho w to Mak e You r Own Glaz es"
and /or a chec k filin g box to
box
card
e
recip
a
used
have
I
and clay bodies. The c h e c k
cata logu e expe rime nts of glaz es
les. This system work s very
samp
tile
file acco mmo date s sma ll
s muc h hand ier and mor e
well for cross refe renc e and seem e in a note book .
alon
com plet e than just the note s
--Je nny Lue dke, Brook[ield, Wis.
CARBONATE AND STIR
e have drie d out into hard
If your jars of com mer cial glaz
ly add any carb onat ed soft
Slow
y.
awa
them
w
cakes, don 't thro
and smo othe r than wate r
r
faste
s
drin k and stir. This mixeend resu h.
and it does not affe ct the
--M rs. Mar ion Hick s, St. Louis, Mo.
CARE OF BRUSHES
for deco ratin g and thes e
The cera mist need s good brus hes
are give n good care .
hes
brus
are not an extr avag ance if the
s. I thin k deco rato rs shou ld
The y shou ld last man y, man y year ld be give n. I wou ld stress
shou
hes
be rem inde d of the care brus
ly clea ned afte r each use in
that brus hes shou ld be thor ough
base of the ferru le. The y
the
at
ng
orde r to avoi d colo r caki
r, hair -up; for a long
aine
cont
shou ld be stor ed in a vert ical
in a clos ed cont aine r
put
be
ld
shou
stora ge peri od, brus hes
r use thes e brus hes
neve
lly,
alon g with som e mot h balls. Fina only for oil colors.
used
are
they
ss
with oil colo rs unle
--C. S.M ., Deland, Fla.
DOLLARS FOR YOU R IDEAS
for each item used in this
Ceramics Mon thly pays up to $5
4175 Nor th Hig h St.,
CM,
to
ns
estio
sugg
column. Send your
t acknowledge or recan'
we
but
y,
43214. Sorr
Columbus, Ohio
turn unus ed items.
lO
Cer ami cs M o n t h l y
ITINE RARY
Send your show announcements early:
"'Where to Show," three months ahead
o~ entry date; "Where to Go," at least
six weeks be[ore the opening.
WHERE TO SHOW
• FLORIDA, WINTER PARK
March 11-13
The Seventh Annual
Sidewalk Art Festival includes entries
in crafts, sculpture and painting. Cash
awards; Jury. For information, write:
Webb Gallery, Canton Avenue, Winter
Park.
NEw JERSEY, ASBURY PARK
May 12-15 The 14th Annual Eastern
Ceramic Hobby Show, at Convention
Hall, will feature exhibits, an amateur
competition and a "Pageant of Techniques." For information, write: Jerry
Gasque, Convention Hall, Asbury Park.
OHIO, CLEVELAND
March 5-13
ramic Hobbyist Show will be held as a
feature of the Cleveland Home and Flower Show at the Cleveland Public Auditorium. Competitive hobbyist and professional exhibits; daily demonstrations by
well-known ceramic artists. For information, write: Mrs. Bonnie Kilfoyle, P. O.
Box 5633, Cleveland, Ohio 44101.
The Tenth Annual Ce-
Continued on Page 12
KANSAS, ~/'IC H ITA
April 3-May 2 The 19th National
Decorative Arts and Ceramics Exhibition,
sponsored by the Wichita Art Association.
Entry cards are due by March 3; No
undergraduate work will be accepted.
Jury: Elsa Regensteiner, Brent Kington
and Maurice Grossman. For information,
write: Ronald D. Hickman, Director,
Wichita Art Association Galleries, 9112
East Central, Wichita 67206.
I T P.
NEW YORK, NEW YORK
Late Summer
"Craftsmen U.S.A.,
'66," sponsored by the American Craftsmen's Council, is a national competition
open to craftsmen in all media. Jurying
and exhibiting will be held in each of six
ACC regions preceding the national exhibition of selected works at the Museum
of Contemporary Crafts. For information
and entry blanks, write: American Craftsmen's Cotincil, 29 West 53rd St., New
York 10019.
VALENTINE
CALIFORNIA, LONG BEACH
OR A CUPID
perfect results are all but
NEW YORK, SYRACUSE
March 5-April 17 The 14th Syracuse
Regional Art Exhibition is open to
artists living within a 100-mile radius
of Syracuse. Media include crafts and
sculpture. Jury; Entry fee; Awards. For
a prospectus, write: Everson Museum of
Art, 407 James St., Syracuse 13203.
SPECIAL FOR HOBBYISTS
HEART
'
~
~
assured with M A Y C O ' s O n e
Stroke and 50 brilliant
opaque underglazes. Used
~
#
N
~
~
•~. f f
//
/'
~
"
singly or in combinations
they'll give you ever,, shade
or hue imaginable. And for the
ideal texture and superior finish
that give just the right "feel"
March 18-20 The 17th "World of
Ceramics Show," sponsored by California Ceramic Hobby Association, is the
oldest hobby ceramics show in the nation.
Exhibits, demonstrations and teaching. For
information, write: Jack Kemper, Show
Chairman, Box 545, Chino, California.
T r a n s p a r e n t Crackle, M a t t Transparent or Shadow White. O u t s t a n d i n g for all techniques.
D.C., WASHINGTON
]uly 14-16
The National Ceramic
Trade Show and Conference will be held
at the Park Sheraton Hotel. Show Chairman is Olevia Higgs, 6811 Washington
Blvd., Elkridge, Md. 21227.
All M A Y C O products may be fired at Cone 06,
will not run, chip or peel on firing.
WRITE FOR
FREE COLOR
CATALOG
o
GEORGIA, BRUNSWICK
April 1-3 The Fifth Annual Southeast
Georgia Ceramic Show will be held in
the Howard E. Coffin Recreation Building. Information is available from Mrs.
Caroline Armstrong, Brunswick Recreation Department, P.O. Box 1297, Brunswick.
to the piece, simply glaze over
with # 1 0 5 Crystal Clear,
"\
MAYCOCOLORS
10645 CHANDLER BOULEVARD • NORTH HOLLYWOOD , CALIFORNIA
DEALERSHIP S AVAILABLE
F e b r u a r y 1966
11
ITINERARY
Continued [rom Page l l
OHIO. DAYTON"
April 29-May 1 The Eighth Annual
Midwest Ceramic Show, sponsored by the
Midwest Ceramic Association, will be held
at the Montgomery County Fair Grounds
Coliseum. Show proceeds will be used for
the group's Scholarship Award. For information, contact the Show Chairman:
Bessie A. Baker, 6430 Ta','lorsville Rd.,
Dayton 45424.
TEXAS, DALLAS
April 22-24 The Southwest Ceramic
Show will be held at Market Hall. Show
Chairman is Mrs. Opal Black, 4310
Congress Ave., Dallas 75219.
TEXAS, SAN ANTONIO
March 25-27 Fifth Annual Ceramic
Show, sponsored by the San Antonio
Ceramic Art Association, at Town Hall,
Wonderland Shopping Center. For information, write: Mrs. Ruth Rice, 143 Croesus, San Antonio 78213.
FLORIDA, GAINESVILLE
through May "4,000 Years of Ceramics in Florida," at the Florida State
Museum.
FLORIDA, TAMPA
February 1-12 Florida State Fair Fine
Arts Exhibit, at the Tampa Art Institute.
GEORGIA, ROME
WHERE TO GO
CALIFORNIA~ WALNUT
through February 19 "The 23rd Ceramic National Circuit Exhibition," sponsored by the Everson Museum of Art, at
Mt. San Antonio College.
COLORADO, DENVER
through April American Indian Arts
and Crafts, at the Art Museum.
February 21-March 17 Southern Highland Handicraft Guild Exhibit, at Shorter
College.
I~A~.VAII, HONOLULU
through February 13 "7,000 Years
of Iranian Art." Smithsonian Institution
Traveling Exhibition, at the Honolulu
Academy of Arts.
ILI.INOIS. RIVER FOREST
February 7-21 Raku Ware by Paul
Soldner, ACC Traveling Exhibit, at Concordia Teacher's College.
ILLINOIS, SKOKIE
February 7-20 "Ceramic Arts--U.S.A.
- - 1 9 6 6 " is an invitational show sponsored
by the International Minerals and Chemical Corporation, at the IMC headquarters.
ILLINOIS, SPRINGFIELD
through February 27 "Treasures of
Jewish Ceremonial Art," at the Illinois
State Museum.
MICHIGAN, EAST LANSING
February 26-March 15 Student Sculpture, at Kresge Art Center, Michigan
State University.
NEW YORK, BROOKLYN
through March 9 Greek Gold Treasures from the time of Alexander the
Great, at the Brooklyn Museum.
NEW YORK, NEW YORK
February 7-23 Pottery and ceramic
sculpture by Kenneth M. Green, at
Greenwich House.
NEW YORK, NEW YORK
through February 24 Ceramics and
ceramic sculpture by Rose Krebs, at the
National Design Center.
NEw YORK, NEW YORK
Continuing "Ancient Peruvian Ceramics: The Nathan C. Cummings Collection"
contains over 300 objects dating from
1000 B.C. to 1500 A.D. At The Metropolitan Museum of Art.
Some
people
get a kick out of our wheel
Universities , Industry, A r t i s a n s
(which is just about everybody) use
our wheels. Ned Sloane, of the Venice
Pot Shop, uses 10 of them. Why not
send for our catalog which describes,
in detail, our complete line of potter's
wheels and accessories and get your
kicks ?
Westwood Ceramic Supply-Co.
12
Ceramics Monthly
610 Venice Blvd.
Venice, Calif.
OHIO, CINCINNATI
through ]anuary 31 "Rookwood Pottery and Related Decorative Arts," at the
Cincinnati Art Museum.
OHIO, TOLEDO
February 6-March 6 Pottery by David
Counts, in Gallery 8 of the Toledo Museum of Art.
OHIO, TOLEDO
February 19-20 Seminar with Louis
Mendez, of The Ohio State University,
sponsored by the Toledo Potters' Guild,
at the Toledo Museum of Art School.
Continued on Page 37
Jane Parshall @
Denis Chasek
by ROOER D. BONHAM
named "Harol d" had
of Jane Parsha ll and
ration
collabo
much to do with the
Ohio.
Akron,
of
potters
studio
Denis Chasek ,
the genesis of
and
ration,
Beginn ing of the collabo
and Denis,
Jane
years.
ten
"Harol d," go back about
that time,
at
schools
city
Akron
the
in
both art teacher s
trip to
field
ional
educat
r
summe
a
found themse lves on
DeArt
the
of
s
auspice
under
was
Mexico . The course
Prof.
by
headed
sity,
Univer
State
partme nt of Kent
Harold Kitner.
Jane and Denis had known each other previou sly,
but not very well. On the Mexica n jaunt they became
better acquai nted. Jane was an accomp lished cerami c
artist; Denis at that time special ized in waterc olor painting.
As artists will, Denis started sketchi ng and, with
suggestions from Jane and the others, turned out some
drawin gs of "pot people ." Profess or Kitner, in his column
in a local newspa per, had remark ed that "A pot is just
a pot," and Denis and his classma tes set out to show
that pots could be people.
This horsepl ay, all in good fun. eventu ally led Jane
and Denis to the decision: "Let's do some
pot people in clay!"
Later, back in Akron,
they did. One of the
first was a garden
sculptu re, open in design and done in sections. They named him
" H a r o l d . " Profes sor
Kitner was a good sport
about the episode , came
to the kiln openin g and
ensuing party. Doubtless he was even secretly pleased at the prize
money which "Harol d"
and a compa nion piece,
a female -type garden
lantern , later won at
the Ohio State Fair
and various shows.
And so began the collaborat ion of Jane Parshall - - Denis Chasek ,
Design er-Craf tsmen.
A SUB-HU MAN GARDEN SCULPT URE
Headq uarters for the P-C operati on is a comfor table
old two-sto ry house at 337 Storer Avenue , Akron. "Pots"
are all over the place. First to greet you at the door of
the screene d-in porch is a goggle -eyed garden lantern .
Inside the rooms is a menag e of pottery . And when you
have worked your way "out back," you discove r "Harold" presidi ng over a backya rd studde d with garden -style
pieces.
The worksh op is in the cellar. Jane started out
years ago in an inner chamb er that used to be the coal
bin, now the clay-gl aze mixing and storage room. Just
outside the door, near the water source, is an open space
and work tables.
Opposi te is a long, L-shap ed workbe nch, above
which, on bench- to-ceili ng shelves, are what appear to
be pillows of varying sizes and shapes. These "pillow s,"
filled with vermic ulite or, in some cases, sand, are actuall), homem ade drape molds, an innova tion of Jane's.
A short flight of steps leads to the kiln room, still
recogn izable as the home's former two-ca r garage. Jane
uses two kilns: a five-cu bic-foo t gas kiln, mainly for
reducti on firing, and a six-cub ic-foot electric unit for
more genera l use.
In the past Jane did
a lot of wheel throwin g.
But now the place of
honor, in the center of
the cellar under a bare
bulb light, is reserve d
for a mixer- muller. "It
cost me more than I'll
make in two years," she
remark ed, "but it saves
no end of time and innumera ble backac hes."
From this studio- shop
flows a body of work
showin g a remark able
range of creativ ity. Although open to all
types of assignm ents,
Jane and Denis specialize in archite ctural
and garden cerami cs-lanterns, birdbaths,
planter s, bird feeders ,
bottles, weed pots and
tile tableto ps.
February 1966 13
I"
Left: Footed lantern shows surface
mottling that is characteristic of the
Parshall-Chasek clay. Mottl ing comes
from the black Michigan sand in the
clay body.
Opposite page: Garden or patio lanterns and planters are typical of the
work of these craftsmen.
Most of their produ ction is stone ware, but from clay
of their own prepa ration . It's high in firecl ay and heavi
ly
grogg ed with a black Michi gan sand which gives a
mottled textur e to the finish ed ware.
Since the arriva l of the mixer , the two potter s have
contin ued to devel op colore d clay bodie s with comp
atible
shrink age. These clays are freely mixed and used as
inlaid
decor ation.
But when they do use glaze, the potter s emplo y
mostl y slip and maple ash glazes, which are soft
matt
and pick up the black sand when reduc ed.
As is true for many studio -potte rs, marke ting is a
contin uing probl em. Findi ng consi gnme nt selling at
long
distan ce troub lesom e, Parsh aU and Chase k are now
sticking to source s close to home . They 've devel oped a
followin g and many times they are conta cted throu gh
local
and area exhib itions , notab ly the Cleve land May
Show
and the Akron Art Instit ute Sprin g Show . They
're
occas ionall y comm ission ed by local archit ects; flowe
r
arrang ers use their ware, then sell them; and garde
n
clubs come as a group to purch ase pieces .
Jane has worke d full-ti me as a potte r since 1959.
Denis spend s somew hat less time in the collab oratio
n
since he teache s art and ceram ics (low- fire) at Firest
one
High Schoo l. This year, Jane plann ed to return to teach
ing again , and pot in her spare- time. In any case,
they
will contin ue to keep the house cramm ed with ceram
ics
and their source s suppl ied.
Like most seriou s potter s, they'r e forev er gettin g
somet hing ready for a show. They 've done well
at it,
too, exhib iting in the Ceram ic Natio nal, The Muse
um
of Conte mpor ary Crafts in New York City, the
Kiln
Club of Wash ington show at the Smith sonia n Instit
ute
in Wash ington , D.C., and Ohio State Fair shows.
Purchase prizes --thos e dual votes of confid ence that please
most potter s---ha ve come to P-C from the Akron
Art
Muse um and the Butle r Instit ute of Amer ican Art
in
Youn gstow n.
Prior to the collab oratio n, Jane was an exhib itor and
award -winn er in many notab le shows "for more
years
than I want to admit ." Just a sampl ing of these would
includ e prizes in the Ohio State Fair, Cleve land
May
Show , Akron Sprin g Show , Ohio Desig ner-C raftsm
en
14
Ceramics Mont hly
Show , the Butle r Ceram ic Show , and the Massi llon
Art
Muse um exhib itions .
Their friend s and fellow ceram ists often ask P-C,
"Who does what? Does one do the formi ng, with
the
other handl ing the glazin g and firing ?"
"We work sort of instin ctivel y togeth er," Denis explains . "We both know what needs to be done, so
we
do it."
Howe ver this may be, it is also true that each
partn er has his or her specia l streng ths. Jane makes
a
very practi cal contr ibutio n in her studio , for instan
ce.
Also, she is strong on the techn ical side of ceram ics,
can
take you throu gh the labyri nths of glaze formu las
and
clay mixes with the confid ence of an airlin e pilot.
Jane's backg round in ceram ics, by the way, is substanti al: a degre e in art educa tion from Weste rn Reser
ve
Unive rsity, Cleve land; diplom a from the Cleve land
Institute of Art; a summ er cours e in ceram ics at Cranb
rook
Acad emy under Maija Grote ll; and a maste r's, also
at
Weste rn Reser ve.
Yet, with all this traini ng, she admit s to receiv ing
her techn ical know ledge in a left-h anded sort of
way
at the Unive rsity of Alaba ma. While teach ing there
in
1945-49, she was for two summ ers an assist ant to
Dr.
T. N. McVa y, profes sor of ceram ic techn ology .
"Dr.
McVa y perso nally and inform ally taugh t me clay
and
glaze techn ology equal to a thoro ugh cours e on
the
subje ct," Jane testifies.
Denis Chase k, reserv ed, as quiet as Jane is volub le,
brings a specia l brand of creati vity and inven tivene
ss to
their work. He, too, has acade mic qualif icatio ns as
an
artist: he's an art educa tion gradu ate of Kent
State
Unive rsity, holds a maste r's from Colum bia Unive
rsity,
and has taugh t now for 16 years.
Jane has demo nstrat ed creati vity, of cours e, but after
a numb er of years every creato r needs an infusi on
of
new ideas, and Denis suppli es this. Too, by leavin g
technical probl ems to Jane, he can perha ps be freer in
his
appro ach to creati ng.
In a word, Jane Parsh all and Denis Chase k compleme nt each other, with each bring ing specia l gifts
to
their art and craft, and togeth er produ cing many
outstand ing works of ceram ic art and design. Cont inued
...
\
\
\
\,
1
:/
iii
\
~
"
~,~" %11
Parshall and Ch ase k dem on str ate
CL AY IN LA Y DE CO RA TI ON
The Parsh all-Ch asek techn ique of clay inlay decoration is a happy blend ing of the specia l talent s of
these
two artist- potter s, comb ined with the tradit ional drape
mold metho d of formi ng.
Creat ion of a shallo w bowl or tray begin s with the
rollin g out of a clay slab within a ¼-inc h-thic k
rectangn lar frame . Work is done on a wet jersey cloth.
When it is her turn, Jane, woma n-like , uses an extra
long rollin g pin. Denis prefer s a lighte r roller , the hollow
core from a tube of wrapp ing paper .
As a basic body, the potter s have devel oped a sculpture clay havin g a black Michi gan sand conte nt.
The
sand gives a mottl ed textur e when fired, increa sing
in
darkn ess with reduc tion. Of late, howe ver, Jane
has
obtain ed the mottl ing by substi tuting granu lar mang
anese
dioxid e for the sand. This mater ial, she repor ts,
shows
up better in electr ic firing . The clay inlay techn ique,
in
fact, is most often used with oxida tion or neutr al
fire
in the electr ic kiln.
When the slab is appro ximat ely the size desire d, a
pillow mold is laid on the slab for size. The slab
is
trimm ed with a fettlin g knife to about the size of
the
"pillo w." The pillow mold is Jane's idea and she
has
dozen s of them, of many sizes and shape s. They
are
simpl y musli n filled with vermi culite or sand.
Now it is time for the inlay decor ation. This technique , says Jane, is entire ly origin al with Denis . It
consists of rollin g out coils or other shape s of colore d
clay,
then rollin g them into the slab. The design being
demonstra ted is a baske t weave , but a potter could choos
e
any patter n that suits his fancy .
"This metho d of decor ation, " Jane expla ins, "is to
pottin g what water colori ng is to paint ing-- that
is, a
comp letely free and spont aneou s mediu m of expre ssion.
"
Denis , who is also a painte r, adds: "Neit her water
colori ng nor inlayi ng is much adapt ed to going back
and
makin g correc tions. "
Never theles s, as Denis demo nstrat ed, correc tions in
inlayi ng are possible. He "erase d" a brown inlaid
strip
by simpl y rollin g in a wider green one over it.
16 Cera mics Monthly
The colore d inlay clays have been obtain ed by
addin g oxide s to the basic brown sculp ture body.
For
exam ple, green is from chrom ium, yellow from rutile
.
Howe ver, it is slight ly more comp licate d than that.
Addin g oxide s will throw the clay formu la out of "kilte
r."
Other adjus tment s nmst then be made . Jane recom mend
s
the CERAMICS MONTHLY series of article s entitl ed "Ston
eware Clay Bodie s" by F. Carlto n Ball as an excell
ent
refere nce sourc e in corre ct prepa ration of the colore
d
clays (CM, Decem ber 1957 throu gh April 1958) .
In mixin g the clays of variou s colors , the impor tant
point to remem ber is that both body and inlay
clays
must be comp atible for a corre ct "fit" in firing .
Denis contin ues to inlay coils of clay, first in one
direct ion, then in the oppos ite. Now his design calls
for
addin g some "pills " of clay, which becom e circle s
when
rolled in.
As the inlay clay is added , the slab spread s out.
Denis occas ionall y pause s to trim back the slab
to its
origin al size and shape . Finall y, he lays the pillow
mold
onto the slab and does last-m inute shapin g.
Now the piece is flippe d over. This is done by using
the jersey under cloth as a kind of sling. With the
cloth
still in place, Denis presses the rim of the wet clay
piece
into a bowl shape .
The jersey is now peele d off, leavin g a textur ed
surfac e on the botto m of the shallo w bowl or tray.
Next
morni ng, when the piece is leathe r-hard , the botto m
will
be paddl ed flat and the P-C insign ia presse d into it.
The
piece is also given a final trimm ing at this stage.
The firing is at stone ware tempe rature s. Becau se of
the clay body used- -heav ily grogg ed and high in
fire
clay- -the result ing piece, says Jane, is oven- proof
. Of
course , if the piece is to be glazed , a secon d firin~
takes
place.
"'We like clay inlay decor ation for its simpl icity and
freedo m," footn otes Jane Parsh all. "Add ed to that,
use
of the pillow molds allows the smoot h produ ction
of a
numb er of pieces all in tile same family , yet each
an
indivi dual creati on."
"11
i~i~ ~
~ ; ~!¸i
z~ !~i~
~i!ili"~
i
1. Work on a shallow tray begins by rolling out a clay
slab within a ¼-inch rectangular frame.
2. A pillow mold is placed on the slab for size, then the
slab is trimmed with a fettling knife to the pillow size.
3. Coils of colored clay are rolled out, plac,'d o~z the slab
in a basket weave design and rolled into the slab.
4. Small round clay pellets are placed on the slab; when
these are rolled into the clay they will form circles.
"February 1966
17
5. The pillow mold is Jdaccd on the slab a~zd the piece
is [lipped over by using the cloth underneath as a sling.
~!':
6. With the cloth still in place, the wet clay slab is pressed
over the pillow mold to [orm a tray shape.
d
Finished trays show thc simplicity and [reedom o[ the Parshall-Chasek inlaid decoratiolts.
18
Ceramics Monthly
Cut-Out Shapes for
EN AM EL ED WALL PIECES
by POLLY ROTI-IENBERG
IN THIS ERA of casua l living , inform al wall pieces reflec
t
our hobbi es and intere sts. Mater ials and objec ts aroun
d
us may give inspir ation for designs which will have
a
perso nal mean ing. When plann ing cut-o ut pieces
for
a wall pictur e, it is wise to select subjec ts which
have
natur ally pleasi ng shapes. Appro priate backg round
s
shoul d form an integr al part of each piece we create
.
Marin e life is alway s a fascin ating sourc e of design
for crafts men and artists. The demo nstrat ion pieces
are
brigh t, colorf ul, enam eled fish shape s, moun ted on
separate plane s again st a piece of real fish-n et. Shells
or a
small spong e or two could be added again st the net
as
part of this arran geme nt. The three fish shape s
were
cut from ~16-g auge sheet coppe r with metal shears
.
Altho ugh I gener ally use ~18-g auge coppe r, there
are
narro w projec tions on these pieces which could bend
and
chip the enam el if the coppe r were too light- weigh
t.
It is well to remem ber this when plann ing any
long,
thin sectio ns of enam eled metal . Altho ugh :~16gauge
coppe r is fairly heavy , it may be cut with metal shears
.
The pieces demo nstrat ed were filed and shape d,
then
the edges were furthe r refine d with needl e files. A
~30
copin g saw blade in either a copin g saw or jewel
er's
~aw fraine might be used to cut the pieces instea
d of
metal shears , for those crafts men who prefe r worki
ng
with a saw rathe r than shears. In order to give a
slight
three- dimen siona l effect , the fish-tails were curve d befor
e
being enam eled. The pieces were then rubbe d smoot
h
with fine steel wool, clean ed thoro ughly , and count
erenam eled.
In plann ing colors for these pieces , I took advan
tage of the qualit ies of transp arent ename ls for the
base
coats. Gleam ing coppe r showi ng throu gh transp
arent
gold, blue, and light brown gave the gliste ning qualit
y
so chara cteris tic of marin e life. Howe ver, since I wante
d
very brigh t patter ns on the shape s, opaqu e ename
ls
playe d their colorf ul role in the decor ation of the
fish.
Each opaqu e color in the designs was stenci led
and
fired separa tely. Paper stenci ls shoul d alway s be damp
ened befor e they are used, to preve nt them from curlin
g
A section of walnu t bark is the backg round [or a
onepiece coppe r free form that is suspe nded by a ctmin
..
Febru ary 1966
19
the edges
1. Fish shapes are cut from sheet copp er, then
e.
shap
ed
curv
t
are filed and the [orm s given a sligh
il [or a wavy
2. A piece of strin g serves as a flexible stenc
el.
enam
the
line when deco ratio n is done with
to prov ide a
;$. 1bre ads are crossed over a pape r mask
es.
shap
stenc il for a netti ng effec t on one of the
ed on last and,
4. Blac k line oa,ergla ze detai ls are brush
f/
4
zi~
and coate d
5. A piece o] real fish netti ng is cut to size
y."
"bod
it
give
to
with dark glue
20
Ceramics Mon thly
when dry, the piece s are fired.
d that has
6. The net is press ed into place over a boar
.
been cove red with gray- blue linen cloth
:
..
......
to the front
zz
i theniil
i back of eachi! fish!i:is roughe ned with;!ii!a stone,
7. Three small blocks o/ wood are fastene d
of the board to display the fish on differen t planes,
8. T h e
the fish are glued in place on the blocks.
when gum is applied . A piece of onion sack netting
was used for a stencil on the long fish; short lengths of
thread, moiste ned and criss-cr ossed, made the netting
effect on the smalles t fish. Opaqu e stencile d colors used
were turquoi se, bright blue, tangeri ne, brown, and yellow. Black line overgla ze details were brushed on last
and the pieces were fired when they were dry.
The base for the mounti ng-boa rd, which was a
10" x 22" piece of ~ - i n c h plywoo d, was sanded smooth
and given a coat of glue on one side. A piece of grayblue linen was pressed on top of the glue and allowed to
extend three inches on all sides; the project was left to
thoroug hly dry. Then small section s were cut from the
corners of the linen to elimina te bulkine ss, and the extension s were pulled over the edges and glued to the
back of the plywoo d. Thumb tacks tempor arily held
the extensi ons while the glue dried. It was then time
to again turn the board over and glue the fish-ne t to the
front of the board. Fish-ne tting may be obtaine d from
shell supply houses, sportin g-good s stores, or fishing
supply centers .
When the glue on the netting had dried, three small
blocks of wood, ½ inch, 5~ inch, a n d ~ inch thick, were
fastene d to the front of the board, on top of the netting ,
by means of counte r-sunk screws. They were inserted
from the back of the plywoo d board, two screws to each
block. The blocks of wood were not just glued fast over
the net, as the net would have been pulled loose by the
weight of blocks and enamel ed pieces. Small enamel ed
shapes like these would not be large enough to concea l
cut ends of the net. if it were cut awav from behind the
blocks of wood. The entire back of tl~e board was covered with self-ad hering contact paper for a neat finish.
Before the three enamel ed shapes were cement ed to
the blocks of wood on the face of the board, the back
of each piece was stoned and roughe ned, so the adhesiv e
would hold. Finally , the pieces were glued in place and
left to dry overnig ht.
Limite d only by one's ingenui ty, all sorts of colorfu l,
decorat ive pattern s can be used on wall plaques . The
abstrac t piece illustra ted, which is mounte d against bark,
was inspire d by a row of three colorfu l fungi growin g up
a tree trunk. An open pattern allows the beautif ul walnut
bark to show through a bright coral and black design.
Direct, simple, and child-li ke creatio ns form the most
whimsi cal and pleasin g pieces, when mounte d inform ally
against unusua l texture d backgr ounds that are appropriate to the subject s.
Bird was made in three section s: legs, tail and body.
Pieces of glass were fired and added for eye and tail.
February 1966 21
TH RO WIN G A SQU ARE VASE
by F. CARLTON BALL
In the January 1966 issue of CM, F. Carlton Ball
presented a method of making an off-center pot on the
wheel that involved moving a partially- formed bottle
slightly off-center , then continuin g the shaping of the
top section. When leather-h ard, the shape was given
further exaggeration by paddling it to define the sides.
In this article Mr. Ball demonstr ates another method
of making a squared pot on the potter's wheeI.~E d.
THERE ARE SEVERAL METHODS the potter uses to make
square pots. He may wrap slabs around a square form
or mold of some kind; he may cut and assemble slabs
into a square or rectangu lar form; he may press slabs
inside a box shape; or he may throw a pot on the wheel,
paddle or press the sides into a square shape, and then
attach separatel y-thrown round neck and base pieces
when the clay is in the leather-h ard condition .
A pottery form with square sides and round bases
and necks can also be thrown on the wheel in one piece,
and this combinat ion of squared and round forms makes
a very interestin g design problem. The shaping of such
a form is not very difficult, either.
The first step involves throwing a cylinder, then
stretching the body by shaping it into a slightly swelling
form; this gives a shape that is larger than the base
beneath. The top of the cylinder is then constricte d, or
"necked in," so that the opening is just large enough
for the hand to be thrust inside the pot.
With the general shaping complete d, the index finger of the hand inside the pot starts at a point slightly
above the base and moves straight upward, pressing outward as it moves up to the shoulder. This makes an
indentati on that forms the first rounded corner of a
squared shape.
The pot is revolved a half-turn and the process is
repeated to form a corner llne that is opposite the first
one. Two more corners are formed by making upward
presses at the half-way points between the first two
corners. When these are complete d the vase form has
four rounded corners.
The shape of the vase might be considere d finished
at this point, or it nfight be desired to further constrict
the neck and make this part smaller and taller. When
this is done, the lip is smoothed and finished and the
work may be viewed as complete . The squared area will
1. Working on a plaster bat [ast~ltad to the wheel head,
the author attaches a lump of clay and centers it.
2. The ball of clay is opened and the hands are in position [or the first pull upward to make a cylinder.
22
Ceramics Monthly
3. The hands are shown as they are about mid-wa y up
in the first pull in making the cylinde r shape.
4. Halfwa y up durbtg the second pull demons trates how
much height has been gained to this point.
5. 7"he shape has been expand ed and now the neck is
being constri cted slightly for the basic vase form.
6. 7'h~ index finger is drawn up th, mad .... / I/t, z~all,
pushin g out to form one corner of a square form.
Februa ry 1966
23
have rounde d sides, but this very possibl y may be desirable and pleasin g.
The sides may be made flatter, and this is done bv
using a board or bat to press inward on the clay anti
make the four sides quite flat. This is a rather risky
techniq ue while the clay is still wet, and I would recommen d that the pot be allowed to stand on the wheel
tmtil the clay is firm, yet still flexible enough for this
shaping techniq ue. The combin ation of rounde d corners
and flattene d sides may be conside red as desirab le, or
you might wish to continu e with additio nal shaping .
If sharp corners are wanted , the firm clay can be
paddle d even harder until the corners are more tailored
in appear ance. If the corner edge of a long stick is used
horizon tally for paddlin g the sides, a most interes ting
texture d surface can be impart ed to the flattene d sides
and the corners .
This texture d surface can be left "as is" becaus e
it may be most attracti ve. To carry the decora tion one
step further , howeve r, the texture d sides can be given
a pattern of some kind. In the demon stration pot, the
end of a square stick was used to scratch a curvili near
design through the texture and thus furnish an interesting opposit ion to the strong horizon tal markin gs.
The finishe d pot picture d was made from buff clay.
After it was bisque fired, the inside was glazed by pouring, then the outside was painted with a thin mixtur e
of red iron oxide and water. A sponge was used to wipe
the nfixtur e from the surface , leaving the color only in
the depress ions formed by the texturi ng and pattern ing.
A white waxy glaze was sprayed over the whole outside .
then the pot was fired to Cone 10 in a reducti on atmosphere. This same sort of treatme nt could be used for a
glaze at almost any temper ature and fired in an oxidation atmosp here.
I would like to stress that the method of "stretch ing" the sides of a pot by outwar d pressur e of a finger
from inside the pot can produc e a variety of very interesting forms.
If the vertica l lines are made about an inch or two
apart on one side of a pot, then repeate d on the opposite side, an oval or rectang ular form can be produc ed.
A variati on in this proced ure can result in a triangu lar
shape. Some experim entatio n (and perhap s a few ruined
pots) is almost sure to lead to some very differe nt and
disting uished forms. In additio n to the usual vase and
bottle forms, planter s also could be decora ted by this
method to produc e shapes other than round ones. This
method of distorti ng a round form also is good for
creatin g lamp bases and lighting fixtures . If the finger
pressin g outwar d from the inside is allowed to punch
through the clay wall, the rugged pierced effect might
be an intense ly interes ting one for a heavy light fixture.
Howev er it may be used, the techniq ue is simple
and effectiv e and it is worthy of a variety of attemp ts
to produc e distinct ive forms.
7. Alter the corners a r c / o r m e d , the m cl~ i~ made small~
and taller to comple te the [orm.
8. A board is pressed agai~l~t o7~c side o] the pot to [latt~ p~
it into a square area.
24
Cerami cs M o n t h l y
February 1966 25
WISCONSIN
CRAFTS
'
SIXTEEN ARTISTS received awards to- understo od; they have always comtaling $1,250.00 in the 45th Annual pelled the attention and affection of
Exhibitio n of Wisconsi n Crafts, a people, ministeri ng to both need and
juried exhibitio n open to Wisconsi n • spirit. They are, essentially, arts with
residents and co-sponso red by the a primary relationsh ip to the activiMilwauk ee Art Center and the Wis- ties and purposes of man and daily
consin Designer -Craftsm en. The ex- touch his life in friendly and intimate
hibition was held in October -and ways.
"The current exhibitio n of the WisNovembe r at the Art Center.
was
consin Designer -Craftsm en illustrates
Juror of selections and awards
H. J. Brennan, Dean of the College admirabl y the vigor and variety of
of Fine and Applied Arts, Rocheste r the creative power evidence d in the
Institute of Technolo gy. In his state- contempo rary American crafts. It is
ment, Mr. Brennan noted: "The a strong exhibitio n in terms of both
swift spread of interest in the crafts artistic invention and technical soduring the past decade has been as- phisticati on, and does great credit to
tonishing , and brought to the arts in the fine group of artist-cra ftsmen
the United States new exciteme nt and resident in Wisconsi n. It deserves
a new creative personal ity--the artist- admiratio n and patronag e."
From the 766 pieces submitted , the
craftsman . Recent productio n in the
exjuror selected 354 pieces by 149 Wiscrafts is within new dimensio ns;
y
consin craftsmen to make this the
pressive qualities are as frequentl
n
largest exhibitio n in the 45 year
sought in the forms as utilitaria
pracare
history of the show. Awards in the
worth. In short, the crafts
creative
ceramics area went to James Sampticed, these days, by highly
is
work
son, River Falls; Clayton Bailey,
and imaginati ve people whose
freas
life
rary
Whitewa ter; Sister Mary Rembert,
enriching contempo
and
painting
as
Milwauk ee; Vern Funk, Racine;
quently and fully
Jean Podell, Milwauk ee; and Misculpture .
readily
is
crafts
chael Boylen, Madison.
the
of
"The appeal
26
Ceramics Monthly
Above: Terracotta figure, "Mrs.
Moneyba gs," by Ruth Muehlmeier, won top purchase award
given by Milwauk ee Art Center.
Above, right: Silver cloisonne
Chalice and Paten, by Sister
Mary Rembert, is 9 inches high;
figures are in ivory and graygreen on olive green enamel.
Below: Blown Glass Bottle, by
Michael Boylen, is 6 ~ inches
high, green and amber in color.
:[
Right: Earthenware Bottle by
Verne Funk was given the
Friends o[ Art Purchase Award.
Below: Sand cast battery-operated clock, "The Warrior," is 20
inches high; by Alan PoIakowski.
Below, right: Vase by ]ean Podell
is shaded blue cnamel on copper;
7V2 inches high. T h o m a s C.
Thompson Award.
February 1966 27
Printing with Plastic Foam
demonstrated bv MARC BELLAIRE
THE DECORATION'S REPERTORY of techniques should include the block printing effect, using foam plastic instead
of the usual hard block. Foam plastic is a soft material
that can be c u t easily into any desired shape, and this
can be dipped into decorating color and stamped on
greenware to reproduce a shape any number of times.
Foam plastic is a closely-textured material that seems
to be made up of tiny beads of foam. Generally used for
making seat or mattress pads, it is available in small
pieces or by the yard in novelty and department stores.
While the foam material can be purchased in many
different thicknesses, Mr. Bellaire prefers a thickness of
from ½ to 7~ inch. While an even thinner foam is easier
t o cut with scissors, the resulting shapes are rather flimsy
and don't have enough "body" for good control by the
decorator.
T h e foain plastic is light colored and this makes it
easy to draw directly on the surface with a marking pen.
T h e motif selected for the demonstration here is the
mushroom, and several of these in different designs and
sizes are drawn on the material with the marking pen.
Variety is achieved by varying the size of the mushroom
caps, the length of the stems, and the angle of the stems.
T h e stamps are cut out easily
with scissors. The material is held
firmly in one hand while the
plastic is cut. If there are any irregularities on the printing surface of the stamps, these can be
trimmed away quite easily with
the scissors.
T h e stamps are prepared for
use by soaking them in water so
that they will more readily absorb color when it is applied to
them. Excess water is squeezed
out before the stamps are used.
Color is applied in one of two
ways. First, the face of the stamp
can be dipped into a saucer of
solid color, then be printed. T h e
second possibility is to dip the
stamp into the color, as in the
first method, then turn the face
upward and apply a shading
color with a brush before the
stamp is printed.
Placement of the shapes on
a ~reenware piece is of the
28
Ceramics Monthly
greatest importance in getting a pleasing decoration.
T h e shapes could be printed in rows, perhaps to make a
border decoration at the top of a cylindrical form, to
form rows of different shapes from top to bottom, or to
stagger or overlap the shapes to achieve an all-over
textural design.
Marc Bellaire's demonstration piece is a vertical
cylindrical shape. He uses three shades of brown color,
one for each of the three foam plastic stamps. T h e first
stamp is dunked in water, then wrung out so that it is
just slightly damp. Some of the first color, a light brown
underglaze, is thinned with water, then poured into a
flat glazed saucer or plate that has enough shallow area
so that the face of the stamp can be dipped into it. The
color is thinned in order to get as solid a print as possible; however, there won't be complete coverage and
this isn't really desirable in most cases.
T h e face of the stamp is pressed into the color in
then lifted out and the impression transferred
plate,
the
area on the greenware vase. T h e
predetermined
to a
and stamping, until several
dipping
repeated,
process is
around the outside of
dotted
been
have
of these shapes
cylinder.
the
T h e technique is repeated with another stamp and
a darker shade of brown color;
some of these shapes overlap the
first ones and all of them have
a different placement in height
from the first set of prints. The
third stamp and third color of
brown are used in the same way
to fill the space and to finish the
decoration.
There are several special advantages of working by this decorating technique. If a print is
not complete, the stamp can be
re-registered easily on the greenware surface and a better print
obtained; of course, this is easier
to do on a flat or shallow surface
than it is on a very rounded one.
Another advantage is that it is
simple to cut very intricate patterns from this material and use
them successfully on either concave or convex surfaces. In addition, this is a superb technique
for making textural effects in a
variety of patterns and colors.
......
1. Set'oral mushroom shap,'s arc sketched
plastic loam with a marking pen.
a sheet o[
2. Scissors are used to [ollow the design and cut through
the foam material to produce the stamps.
3. One-color print can be made by pressing a stamp
into color, then pressing this side against the greenware.
4. Two-color print is made by painting another color
o~'cr part o[ the stamp be[ore the print is made.
5. Tlle print is made by rocking the loam, stamp oc',r
the greenware so that a complete impression is le[t.
6. Decoration is made by overlapping the shapes and
printing in three shades of one color.
on
February 1966
29
recommended
books on
ceramics
||i
CREATIVE CLAY DESIGN
by Ernst Rottger
Shows molding of all kinds of
elaborate shapes from slabs,
strips and rolls of clay. Over
250 examples of work by children and students.
$4.95
POTTERY: FORM
AND EXPRESSION
by Marguerite Wildenhain
Contains many large beautiful
photographs. This impressive
volume gives excellent basic
technical information on processes and materials. An outstanding gift selection. $7.75
CERAMIC SCULPTURE
by Betty Davenport Ford
The author leads the reader
to a high level of professionalism in the design and technique of an ancient craft.
Animal, human, plant and
abstract forms are shown.
$5.50
ANti
r
"All: :
11 ~'.I. ] ' !
\
DESIGNS AND HOW
TO USE THEM
by Joan B. Priolo
Top-notch decorating can be
achieved by following the
simple motifs which may be
enlarged or transferred. A
complete list of subjects:
birds, fish, etc.
$6.95
CLAY AND GLAZES FOR
THE POTTER
by Daniel Rhodes
Two complete books in one!
Fundamental details on both
CLAY and GLAZES make
this book a "must" for every
hobby - craftsman, student,
teacher and potter.
$7.50
DESIGN MOTIFS OF
ANCIENT MEXICO
by Jorge Enciso
A compilation of 766 examples divided into geometric,
natural and artificial forms.
Includes designs based on
flowers, birds, fish, human
figures, etc. 170 pages. $1.85
ENAMELING ON METAL
by Oppi Untracht
Step-by-step photos are used
to describe fundamentals on
through to newly developed
experimental styles. This complete guide is a major contribution to Enameling. $7.50
DESIGN FOR ARTISTS
AND CRAFTSMEN
by Louis Wolchonok
One of the best books on design, it will prove to be invaluable to pottery and sculpture enthusiasts as well as
decorators. Geometric, flower,
bird and animal forms are
shown in detail.
$4.95
WE PAY POSTAGE
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Ceramics Monthly
THE ART OF MAKING
MOSAICS
by Jenkins and Mills
This fascinating book shows
the beginner how to make
unusual and beautiful mosaic
pieces in home or workshop.
Well illustrated.
$5.95
POTTERY & CERAMIC
SCULPTURE
by Herbert M. Sanders
A new, 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.
Excellent for beginners, $1.95
CRAFTS DESIGN
by Moseley, Johnson &
Koenig
A wonderful introduction to
crafts design, this handsome
book shows the art and technique of creating through
crafts. Over I000 illustrations
of pottery, mosaics, enameling, etc. 436 pages. $13.00
CERAMIC GLAZES
by Cullen W. Parmelee
This i n v a l u a b l e
reference
book completely covers glaze
making. I n c l u d e s formulas
and batch recipes for glazes.
314 pages of technical information.
$8.00
MOSAICS, HOBBY & ART
by Edwin Hendrickson
This profusely - illustrated
handbook for the beginner
and advanced hobbyist includes step-by-step instruction
on 12 basic projects. $3.50
CERAMIC SCULPTURE
by John B. Kenny
Contains over 1000 photos
and sketches covering all
phases of the sculptor's art.
A valuable aid for all craftsmen. Large format (7"x10"),
302 pages.
$9.95
THE COMPLETE BOOK
OF POTTERY MAKING
by John B. Kenny
The "best seller" in the
ceramic field! Step-by-step
photo lessons cover all of the
pottery - making techniques.
Clays, glazes, firing, plaster,
etc. 242 pages.
$7.50
CERAMICS FOR THE
ARTIST POTTER
by F. H. Norton
The most complete book on
the subject, from choosing
the proper clay to putting
the final touches on a piece,
all clearly explained. Ceramics at its best!
$7.50
CERAMICS
by Glenn C. Nelson
An important addition to the
list of books for both student
and teacher. Many step-bystep photographs of clay-forming and decorating techniques.
Review of Equipment. $6.75
FREE BRUSH DESIGNING
by Egbert and Barnet
The authors' exciting approach to painting and designing develops confidence
in the new artist. Extremely
well adapted to ceramic decoration.
$3.95
STONEWARE AND
PORCELAIN
by Daniel Rhodes
Describes techniques and materials used in high-fire pottery. Includes sections on clay
bodies, glazes, colors, textures
and decoration.
$7.50
GLASS CRAFT
by Kay Kinney
The complete book on fusing,
laminating and bending glass.
Basic techniques, step-by-step
projects and a "Glass Clinic"
to help solve problems. Hard
covers, 200 pages.
$7.50
A POTTERY SKETCHBOOK
by Aaron Bohrod
Bohrod, one of America's distinguished painters, is well
known in the pottery field
for his decoration of pottery
thrown by C a r l t o n
Ball.
Thousands of sketches. $7.50
HANDBOOK OF DESIGNS
AND DEVICES
by Clarence Hornung
Over 1800 sketches of basic
designs and variations including the circle, line, scroll, fret,
shield, snow crystals and many
more useful symbols.
$2.00
CERAMICS AND HOW
TO DECORATE THEM
by Joan B. Priolo
Mrs. Priolo gives detailed descriptions and illustrations of
dozens of decorating techniques and shows exactly
how to go about using them.
Starts where o t h e r b o o k s
leave off.
$6.95
BOOK DEPARTMENT
4175 North High St.
Columbus, Ohio 43214
PLEASE SEND ME THE FOLLOWING lOOKS
[]
[]
17
[]
[]
[]
[]
[]
[]
[]
[]
[]
Rottger--Clay Designs $4.95
Wildenhain--Pottery $7.75
Ford--S~ulpture $5.50
Priol~Desicjns $6.95
Rhodes--Clay & Glazes $7.50
Encls~Design $1.85
Untracht--Enameling $7.50
WolchonokmDesicjn $4.95
Jenkins & MillsmMosaics $5.?5
Sander~Pottery $1.95
Moseley---C-rafts Design $13.00
Parmelee~Glazes $8.00
[]
[]
[]
[]
[]
[]
[]
Hendrickson--Mosaic $3.50
Kenny--Sculpture $9.95
Kenny--Pottery $7.50
Norton--Artist Poller $7.50
Nelson~Ceramlcs $6.75
Egbert & 8ernet--Brush $3.95
Rhodes--Stoneware $7.50
Kinney~glass Craft $7.50
[ ] Bohrod--Sketchbook $7.50
[ ] Hornung--Designs $2.00
[ ] Priolo---Ceramics $6.95
NAME
ADDRESS
CITY
.STATE
Zl P . _ _
I enclose [ ] Check [ ] Money Order (Oh;o residents: 3% Sales Taxi
Chang ing the Fusion
Levels of Glazes
by RICHARD BEHRENS
THE PROBLEM of changing the fusion
level of a glaze and, at the same time,
retaining its essential characteristic s,
is most often accomplished by a minimal composition shift. A knowledge
of ceramic chemistry and physics in
depth, as well as much practical
experience, can greatly facilitate the
successful reconstitution of a glaze
formula to secure a shift of maturing
level; however, the art potter usually
does not have the time to acquire
such knowledge and skill and must
depend largely on a purely experimental approach to this problem.
While solving this problem through
actual controlled experimentat ion may
be time consuming, it must be remembered that most of what we
know in the creation of art pottery
was developed by such procedures.
By resolving some of the most important principles of glaze chemistry
to a few rules, the potter may, by
applying them to controlled experiments, achieve a modicum of success
in shifting a glaze composition to
meet his needs. Following are some
useful rules for modifying glaze formulas.
Alumina and Silica Both alumina
and silica exercise control of the
maturing point of a glaze. Alumina
is more potent in this respect than is
silica. Increasing the alumina or the
silica in a glaze is a prime method of
increasing the fusion point of a glaze,
but together they are even more effective. By the same token, the glaze
maturing point can be decreased by
lowering its content of alumina and
silica. Used alone they effect the
same results. Generally a balance of
about 10 units (mols) of silica to
one of alumina is desirable in a clear
glaze.
Mixed Oxides
A decrease in the
maturing point of the glaze can be
brought about by substituting a mixture of related oxides for a single
one. Thus a glaze containing a substantial amount of calcium may have
its cone-maturin g-point dropped by
substituting barium oxide, strontium
oxide, magnesium oxide or zinc oxide,
either singly or in any combination.
This would hold true for the alkali
metals also. Substituting potassium
oxide or lithium oxide, in different
proportions, for sodium in a formula
may accomplish a reduced fusion
point. By removing one or more of
such a mix, the maturing cone of a
glaze may be increased.
Lead
Lead oxide is a potent flux
and an extremely dependable fluxing
material in glazes which mature below the Cone 6 level. Decreasing the
lead content of a glaze and replacing
this with an equivalent amount of
the more refractory zinc, calcium,
magnesium or barium will tend to
increase the glaze maturing temperature.
Alkali Metals
The alkali metals
sodium, potassium and lithium, are
effective material for dropping the
fusion temperature of a glaze. Replacing the more refractory calcium,
barium, magnesium or zinc in the
glaze, they act rather powerfully. Of
the three metals, lithium is probably
the most effective in that it does not
increase the tendency of the glaze to
craze as do sodium and potassium.
While these metals are effective even
in very-low-con e-maturing-gl azes, calcium, barium and zinc are effective
in the lower- and stoneware-tem perature levels. Magnesium is effective
in the stoneware level. By replacing
some of the alkali metals in a glaze
with calcium, barium or magnesium,
its P.C.E. (Pyrometric Cone Equivalent) can be increased.
Boric Oxide Boric oxide is a strong
fluxing material, acting throughout
the whole range of earthenware and
stoneware glazing temperatures. High
borate glazes can be made more refractory by increases in the alumina
and silica content.
Frits Frits are a prime additive to
glazes to reduce their maturing temperature. High lead and high borate
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GARE GLAZES
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SEATTLE, W A S H . 98115
Continued on Page 36
February 1966 31
ml
Manufacturer of
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Use these shapes
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people, places and things
BALTIMORE GUILD SHOW
Three members of the Potters Guild
o/ Baltimore recently were given one-man
shows at the Guild headquarters. Exhibiting members were Mrs. Mary Nyberg,
Mrs. Sonia Gordon and Mrs. Mary Louise
Robins (pictured). The potters were set )i]" ]~ i;~
i,
;~se2 teSS
~.~4
of 6 for S32
set
each;
$6
shown
Molds
#SBt
SPECIAL SLIP BLENDS for Schools,
Institutions, Studio Potters.
READY-TO-USE Cone 06-02 UNDERTONERS,
FIRED STAINS, MATTE & GLOSS GLAZES.
M O S A I C TREE PANEL
Sister Roberta, of St. Scholastica Academy in Fort Smith, Arkansas, recently com-
FREE BROCHURE
Mold Catalog . . . . . . . . . . . .
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ENAMEL ING SUPPLIE S
"Everything for the Enamelisr'
School and Stud;o Discounts Available
Catalogue 50c
KRAFT
lected for the show from over 30 members
who participated in a competition last
fall. Judging was done by Richard La[ean,
head of the ceramics department at the
Corcoran School o[ Art, Washington, D.C.
Photo, courtesy: The Baltimore Sun Pa-
KORNER
ter, New York City, is presenting an exhibit of ceramics "and ceramic sculpture
by Rose Krebs at the Center through
February 25. Rose Krebs had her training
at the ceramic workshop of the Bauhaus
in Germany, and brings to her sculpture
the elemental forms of the potter's wheel
and the solidity of stoneware. From units
thrown on the wheel, human figures
emerge that bespeak their clay origins.
In her pottery she has been concentrating
on the sgraffito technique.
Miss Krebs is a doctoral candidate at
the New York University in the field of
Act Education and is also teaching at
Teachers' College, Columbia University.
She has exhibited widely and her work
is in the permanent collections of the
Cooper Union Museum and Columbia
University, as well as private collections.
5860 Mayfleld Rd., Cleveland, Ohio 44124
pleted a large mosaic work inspired by the
Renaissance window in the church of St.
Etienne. The work, titled, "The Jesus Tree
of St. Etienne," was done at Notre Dame.
In making the project, a five-eighths
inch plywood panel was cut into a freeform shape and the tree design was drawn
,,n the board. A combination of various
m m m m m m m ~ ~ ' ~ ,m~m-i-mMl
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SEEYogi DEALE|OI OlSTlllUI01--0l wRITE ~ l l n :
GILMOUB CAMPBELL
14258 MALDEN• DETROIT13, MICHIGAN
OL~e~~ ~
1965 revision Catalog of 6000 molds
from 45 companies . . . . . . . . . . $1.25
$0c
(ca bring 196S catalog up.to-data)
Large Supply Catalog . . . . . . . . .
$1.50
(Refundable on $1S Order)
"Do's & Don'ts o1 Ceramics".... $1.50
Midwest Ceramic Center
722 Southwest Blvd.
32
Kansas City, Missouri
Ceramics M o n t h l y
~j r - - ~ r : % -
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The Toledo Potters' Guild is sponsoring
a two-day seminar with Louis Mendez,
Associate Professor of Ceramic Art at The
Ohio State University. The seminar will
be held February 19 and 20 at the Toledo
Museum of Art School. For information
and reservations, write: Edith Franklin,
2716 Pembroke Rd., Toledo, Ohio 43606.
P l e a s e Mention CM
when writing o u r advertisers
~VJImEYkIVAIE~i
COLORADO OYO REPORT
Edward R. Sajbel, Co-Chairman for the
Own-Your-Ow n Art Show at Southern
Colorado State College, Pueblo, has written concerning the 1965 show: "Our
Show this year seemed to exceed all
expectations. Sales totaled over $7,000.00,
which means we have $1,700.00 for scholarships to be given to worthwhile art students. The grand opening saw over 2500
people in attendance during a three-hour
period."
Information about past OYO shows at
Pueblo appeared in a Show Time feature
in the December 1965 issue of CM. Mr.
Sajbel contributed information for this
article.
SCULPTURE BY KREBS
The Artist-Cra/tsmen o/ New York, in
cooperation with the National Design Cen-
/
m
m e d i a was used tel work out the tree pat-
tern and the background area. Included
were hand-made tesserae, ceramic strips
and leaves, glazed and unglazed commercial tiles, Venetian glass tesserae, gravel,
ground glass, melted glass, shells, liquid
metal, copper sheeting and aluminum,
brass and copper wire. Colors chosen for
the lower part of the panel were kept in
rich, subdued tones of grey-greens, citron,
royal purple and blues. Those of the upper
part of the plaque were bright and warm
to suggest warmth. Sister Roberta, who is
pictured with the plaque, has been repre-
sented in CM with two articles: "Spring
Splash for Children's Art Month," March
1965; and "Combining Clay, Wood and
Magnesite," December 1964.
FLORIDA CRAFTSMEN'S EXHIBIT
The 15th Exhibition by Florida Cra/tsmen was held at Stetson University, DeLand, during December. The annual exhibition is open to all creative craftsmen
who are active in Florida. Award winners
in the 1965 show included Robert Ebendor[, enamel; Don Sill, pottery; Phil
Ward, pottery; Charles Brown, pottery;
Charles Fager, pottery; and Natalie Linanet, pottery.
Jurors included Herbert Cohen, Nils M.
Schweizer and Fred Messerschmith. Exhibit director was Robert Ebendorf.
%. geramic HobbyShow
May 12th-15, 1966
I /ea(/~/
CONVDENTIONHALL,ASBURY PARK,N. J.
edicated to the Advance of the
O~eff
Ceramic fto,~by "l+hroz~h Edm+,ztir, n
CERAMIC ARTS EXHIBIT
International Minerals and Chemical
Corporation is sponsoring an exhibition,
"Ceramic A r t s - - U S A - - 1 9 6 6 , " at its headquarters center in Skokie, Illinois, February 7 through 20. Pictured is Miss Linda
Holt, secretary at the firm. examining
Buyers Cards to be honored at the Eastern
and Chicago Ceramic Shows now available
• , Write for yours today . . . Wholesale
Hours: 12 to 1 P.M. daily.
Hobbyists and Beginners are invited to attend the fabulous "Pageant of Techniques"
from 9 A.M. to 12 Noon daily . . . free
admission.
SPECIAL CLASSES
EASTERN CERAMIC SHOW OF 1966
J
CONVENTION HALL
]
NATIONAL CERAMIC AMATEUR EXHIBIT
JAMES A. BOICE, CHAIRMAN
25 ABINGTON AVE.,
MARLTON, N. J.
J
I
Please send ................ Entry Forms•
I plan to exhibit in the:
ASBURY PARK, N. J.
Please send teaching schedule for Pre-Registered
Eastern
Classes to be conducted at the
Ceramic Hobby Show . . , I wish to make a
reservation.
1966
some of tile enlries. Thirty pieces will be
selected by a jury from this exhibit for
further showing May 2 through June 30
at the Smithsonian Institution in Washington, D.C.
The jury of selection and awards includes Karl Martz, Indiana University;
Theodore Randall, Alfred University; and
Paul Soldner, Scripps College. An advisory
committee of art educators was impaneled
to guide IMC in sponsorship of the show.
This committee included Donald Frith,
WiUiam Farrell, Eugene Friley, and Char-
I
J
NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
(please print)
STREET........................................................................
CITY & STATE. . . . . . . . . . . . . . . . . . . . . . . . . . .
J
I
National Amateur Exhibit ........................
(check)
Professional Exhibit ..................................
(check)
NAME .........................................................................
(please print)
STREET......................................................................
I CITY & STATE..............................................................
CUT ON DOTTEC LINE
les Lakofsky.
SAN FRANCISCO NOTES
The Association o/ San Francisco Potters has accepted an invitation to use
Museum West at Ghiradelli Square as its
new...
the I.OCKERBIEPotter's Wheel
permanent meeting place during 1966.
New members include Joe Wahnsiedler,
Kentfield; Mike Gordon, Oakland: and
Evelyn Sonomura, Berkeley. Mr. Gordon
and Miss Sonomura are teaching assistants
at the College o/ Arts and Cra[ts while
working on their M.A. degrees.
Members winning awards in recent
shows include Jim Wayne, who won the
Blenko Glass purchase award, and Bob
Fritz, who received an honorable mention
award for glass in the Miami National.
Continued on Page 35
THE FINEST KICK-WHEEL MADE
Engineered for extremely smooth, stable operation.
3-point A-frame design. Tapered Timkin roller
bear ng sealed in oil beneath wheel, precision, selfaligning ball bearing at throw ng head Free-wheel coast.
Exclusive non-skip wrap-around foot rests, protective
nip-guards. Compact. Low-cost only $16500. Heavy
duty professional qua ty. Write for catalog to Parfex Co.,
7812 Boulder Ave., Highland, Calif.
Rigid
See the LOCKERBIE before you buy
Dept. CM- 123:65
February 1966
33
HANDBOOKS
Used by teachers everywh ere. Ideal for hobby groups, schools, art and craft centers.
T h r e e - c o l o r covers, profusel y illustrat ed,
step-by- step photo techniqu e. Sold on our
usual money-back guarante e.
BRUSH DECORA TION FOR CERAMI CS by Marc
Bellaire A fascinatin g book with easy-to-fo llow instruction on the use and care of brushes. Shows
how to make many designs for decoratin g ceramics
using just three basic brushes-- the watercolo r, liner
and square shader. Designs and sketches shown in
this exciting book will offer many decoratin g ideas
and will be a lasting source of inspiratio n. Excellent
for beginners .
64 pages. $3.00
CERAMI C PROJECT S edited by Thomas Sellers
Outstandi ng group of projects for the classroom ,
home and studio, originally published in the form
of articles in Ceramics Monthly magazine . Fountains, planters, jewelry, bottles, bowls and many
other unique items are presented complete with
photos and step-by-s tep instructio n. 64 pages $2.00
COPPER ENAMEL ING by Jo Rebert and Jean
O'Hara Recogniz ed as the best in basic instructio n,
this elaborate handbook has over 200 photograp hs.
Includes fundamen tals and helpful illustrate d howto-do-its on jewelry. 21 different projects are completely described . Invaluabl e to teachers and students alike. An excellent manual. 64 pages $2.00
UNDERG LAZE DECORA TION by Marc Bellaire
This complete handbook has all the answers on materials, tools and technique . You'll like the startling
variety of new designs Marc Bellaire create.~ before
your eyes. Step-by-s tep projects are profusely illustrated. 37 projects in a11--286 lively illustratio ns.
64 pages $3.00
THROWI NG ON T H E POTTER 'S W H E E L by
Thomas Sellers Here's a complete manual on how
to use the potter's wheel. Covers all basic steps
from wedging clay to making specific shapes. Clearly describes every detail using step-by-s tep photo
technique plus other illustratio ns. Includes a special
section on selection of wheels.
80 pages $4.00
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CERAMIC
PROJECTS
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THROWING
O N THE
POTTER'S
WHEEL
BY THOMAS SELLERS
000000000000004
CERAM IC
CLAYS
GLAZE
MATER IALS
~,r~/~Ctt/.~ CE.MICSUPPLY,INC.
V
9016 DIPLOMACY ROW • DALLAS, TEXAS 75235
_ _ MElrose 1.0540
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CERAMAC TIVITIES
and
Continued from Page 33
TENNESSEE CRAFTS SHOW
T h e First A n n u a l Tennessee Crafts
Show was held N o v e m b e r l - D e c e m b e r 16
at East Tennessee State University. J u r y
m e m b e r s included Robert Gray, John ].
Barette a n d Bill Brown. Purchase awards
went to Douglas Ferguson, Cynthia Bringle, Jane M. Walker, Joan Johnson, Persis
Grayson a n d Toshiko Takaezu.
KANSAS SHOW REPORT
T h e 12th A n n u a l Kansas Designer
Craftsmen Show was held at the U n i v e r -
The Famous
KLOPFENSTEIN
POTTER'S WHEEL
Write
f o r FREE I n f o r m a t i o n
H. B. KLOPFENSTEIN & SONS
RFD. ~ 2
Dept. A
Crestline, Ohio
CERAMIC and ART SUPPLIES
AMACO, SCULPTURE HOUSE, DUNCAN
Clays, Glazes, Wheels, etc.
PARAGON, FASCO, SKUTT Kilns
Ceramic and Art Books
WlNSOR NEWTON, DELTA, ART and SIGN
Brushes and Art Supplies
MIAMI STUDIO SHOP
2360 W. Flacjler,
Miami, Florida
HI 0-0721
sity of Kansas, Lawrence, O c t o b e r 17N o v e m b e r 14. O v e r 160 pieces by 79 craftsm e n were selected for the show by the
juror, Mrs. John A. Houseman, Crafts Coordinator for the Dallas Art Museum. I n
her statement, Mrs. H o u s e m a n c o m m e n t e d :
" T h e entries for the K a n s a s Designer
C r a f t s m a n Show were balanced between
different m e d i a groups. T h e r e was a better
t h a n average of technically good pieces
a n d examples w h i c h m o v e d from t h e
traditional forms to the inventive. I feel
that K a n s a s h a s attracted a n d is p r o d u c i n g
good craftsmen."
C e r a m i c a n d e n a m e l awards w e n t to
Charles R. Draney for a covered stoneware
jar ( p i c t u r e d ) ; Charles Fager for his oil
LIBRARYBINDER
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a n d vinegar jugs; a n d Mrs. Mary Robinson Koch for a gold a n d cloisonne pin.
Honor
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went
to
Eldon L. Clark, Angelo C. Garzio, David
]affe, John Kudlacek a n d G. Findley
Reed.
Address
City.
State
I enclose $
Send remittance with
order. Ohio residents and 3% Sales Tax.
Send news, and photos, if available, about
"People--Place s--Things" you think will
be of ceramic interest. We will be happy
to consider them for use in this column.
important
allflOgllCe-
ment
from
California
The members of the Ceramic Hobby
Crafts Associates of Southern California want all ceramic hobbyists on
the West Coast to make a date for the
biggest, best California show yet.
This wide, wondrous World of
Ceramics will be held March 18, 19
and 20 in Long Beach. An exciting new
program for hobbyists, full of new
ideas, new developments and new perspectives is now being arranged.
In '66, the California Show is the
Big One in the West! Prime booth
space is now available to manufacturers, dea]ers and distributors who want
to reach thousands of hobbyists who
will attend.
Studios are urged to prepare now
to enter the work of their students in
the "Round the World in Ceramics"
Contest and in the enlarged Hobby
Exhibit.
Make a date, March 18, 19, 20,
with the West's Big Show, Lafayette
Hotel, Long Beach.
For show information write:
Jack Kemper, show chairman, Box
545, Chino, Calif. 91710.
For booths write" Mary Davis,
3859 Boyce Ave., Los Angeles,
Calif. 90039.
For hobby exhibit entries write"
Stella Bodey, 2950 Poplar Ave.,
Lynwood, Calif. 90262.
DOOOOOOOOOOOOOO
February 1966 35
IIIMIIIIIIHIIIIIMIIIIIIIIIIIIIIIIIIIIlll
Sculptors, Potters
ATTENTION(
New Kemper Tools
Choose f r o m K e m p e r ' s complete
line of A m e r i c a n m a d e tools f o r
Sculptor s and P o t t e r s .
• All-Woo d Tools
• Wood and Wire Tools
• Double W i r e - E n d Tools
All availabl e in 6", 8" and 10"
sizes. Made out of select i m p o r t e d
S o u t h A m e r i c a n and A f r i c a n
Hardwoods.
W r i t e f o r the new 1966 K e m p e r
Catalog, enclosin g 25c to cover
m a i l i n g and handling .
KEMPER MFG. CO.
P.O. Box 545, Chino, Calif. 91710
IIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIMIIIIIII
Sold o n l y
by
Authorized
Dealers
W. P. DAWSON
NEW
--
1100 " H " East Ash
Fullerton, California
--
NEW
NEW
Complete Book on using rubber stamps for
decorating ceramics ~ Sl.S0. Special introauctory offer ~ S1.00. Special stamps made
to order.
SEELEY'SCERAMICSERVICE,INC.
9 River St., Oneonta, New York 13820
FRANCOISE
CERAMICS
DISTRIBUTOR FOR: Duncan's Molds, EZ Flow
Glazes and Bisq.Wax • A~lantic~Ar nel~Holland
and Sohmid MOLDS • Porcelain Slip n Glass •
Ceramic Supplies. Large selection of qualify
Graenware. Mack's China Paints, Brushes, Tools,
Kilns, Art Books, Slip, Clay etc. • CLASSES AND
WORKSHOP - - WHOLESALE AND RETAIL
St. Petersburg, Florida
113 49th St. South
CLAYS * GLAZES* KILNS
S C H O O L ART MATERI ALS
w r i t e f o r FREE l i t e r a t u r e
GLAZES
Continued [rorn Page 31
frits, as well as frits containin g much
or little alkali or refractor y metals,
are available from anmng the many
offered in the ceramic market. Their
composit ions should be studied in an
effort to select one which bears some
similarity in composit ion to the original glaze in order to minimize possible changes in the general character
of the glaze.
MATER IALS USED
IN MODIFY ING GLAZES
Aside from high lead frits
Lead
one of the most satisfacto ry compounds for adding lead to a glaze
is white lead. Since some toxic stigma
is attached to white lead, it is often
practical to use lead silicate in its
place. Red and yellow lead oxides
can also be used but they are generally not so thorough ly microniz ed as
is the white lead.
Of the three alkali
Alkali Metals
y
metals commonl used in glazes, lithium can be used in raw glazes easily
because of its relative insolubili ty in
water when its carbonat e form is
used. It also has the advantag e of
fluxing well and producin g less crazing than does either sodium or potassium. Sodium and potassium are most
often added to the glaze through the
very insoluble feldspars and these can
be used to reduce the melting point
of a glaze in the stonewar e range of
firing. For the lower cone glazes, they
carry too much alumina and silica.
Soda ash (desiccat ed sodium carbonate, not bicarbona te) and niter (potassium nitrate) lend themselve s to
addition to glazes if their solubility
is reduced by using an alcohol-w ater
vehicle instead of straight water. This
mix may be made by adding 2 ounces
of water to three ounces of denature d
alcohol or wood alcohol (methano l).
Isopropa nol may also be used. If the
rubbing variety is used, it should be
used without mixing with water. This
vehicle renders the solubility of the
carbonate or nitrate so low that it is
not a factor in glazing.
Fluxes operAlkaline Earth Metals
are and
earthenw
upper
ating in the
are
ures
temperat
of
range
stonewar e
calof
ds
compoun
the
among
found
cium, barium, strontium , zinc and
Continued on Page 37
36
Ceramics Monthly
;~b-N"N-'6"~o-o-o-0 0o-o-o-o-o-00-o-o-o-00 r:
o
• Copper Enameling
(America's largest selection)
• Jewelry findings • Plastics
• Lighters, Music Boxes, Lamp parts
• "Starlite"--America's most
beautiful tree light
• Crushed and Stained Glass
Catalog 5Oc, refundable
with $5.00 order.
Discount schedule to dealers.
BERGEN ARTS & CRAFTS, INC.
o
Box 689c, Salem, Moss.
o_o_o o o_o_0 0 o o o o o o o_o_o o o_o_o o o_0~
SCHAUE R
ENAMEL S
AT LAST an American source for the internationally famous Jewel-Tone transparent & opaque
enamels for copper, silver & gold. Manufactured
by Schauer & Co. Y;enna, Austra and distributed by Norbert'L. Cochran 2540'So. Fletcher Ave., Fernand;na Beach, Fa. 32034.
Wr(te for color range & prices.
Please Mention CM
when writing our advertis ers
Intermountain Area Headquarters
for Ceramic Supplies
Special Attention to rite Needs of Schools and
Institutions. Supply catalog available S1.00 (es.
cept S0c to Utah, Idaho, Montana, Wyoming and
Nevada). Free to schools and institutions when
requested on letterhead.
Capital Ceramic s, Dept. C M
2174 S. Main St., Salt Lake OHy, Utah 8411S
CERAMICS
COPPER
Huge Stocks
Merchandise
ILLINI
*
~.
MOSAICS
ENAMEL ING
Fast Service
*
~ualify
Write now for FREE literature
CERAM IC
SERVICE
439 North Wells. Chicago 10, Illinois
TS
FREE COLORCHAR
and Gare
famous Symphony Glazes
Bisque Stains. Newly printed in full color,
on
showing complete llne. Write today to:
GARE CERAMIC SUPPLY CO., INC.
165 Rosemont St., Haverhill, Mass.
ANDERSON CERAMICS COMPANY, INC.
1950 S. McDuffie St.
Anderson, South Carolina
Complete Ceramic Supplies
Send $1.00 for our new pictured
mold and supply catalog.
J
tNSTRUCT~O N-CATALOGS
m
With beautiful color charts
~7A (108 pcj) Ceramic Suppiies..S0 c m
~7B (38 pg) Enamel Supplies . . . . . . 25c m
I
Costs refundable with coupon
m
(FREE to Schools and Institutions)
T E P P I N G STUDIO SUPPLY C O . •
•
profess;anal staff
I
"WIND TURNERS"
CERAMICS MONTHLY prese nted o u r
first conc ept of the Wind Turn er.
Now - - a new book of desig n and
cutti ng patte rns for ten Wind
Turn ers, with comp lete instr uctio ns
for each.
$2.50 per copy, postp aid.
(Glass Catalog: 50c postpaid)
KAY KINNEY- - CONTOUREDGLASS
725 Broadway, Laguna Beach, Calif. 926S1
POTTER'S TOOLS
GLAZES
BAMBOO TEAPOT HANDLES
2410 E. 38th St.
Minneapolis,
CLAYS
Minn.
JEAN LEONARD CERAMICS
96-24 Corona Ave.
Corona, L. I., N. Y.
MAGI C GREENWARE RELEA (8 oz.)..S 1.2S
Save yoursoll aggravation. SE
Releas es groeeware in halt the time, will not stick.
KILN SURFACE BRICK HARDENER
(16 oz.) . . . . . . . . . . . . . . . . . . . . . . . . . .
$1.7S
Will harden and prolong life of your kiln.
Stops kiln brick from shedding and flaking
.
~
"Ai ~,[eta1.] i ~,I1:11 {4/l:i [qlL
, A 2 ~ l ~ v ? y R. CAMolPTBIE.LLIcH.iu
Wond erlan d Shopping Cfr.
For Infor matio n Write :
143 Croesus, San Anto nio, Texas 78213
The easy to use, SAFE replac ement for dange rous sulfuric acid.
Use SPAREX N O 1 for cleani ng
iron and steel. Use SPARE)( NO
2 for coppe r, brass, silver and
precio us metal s. Order from your
suppli er
QUIMBY & COMPANY
60 Oakdale Road, Chester, N. J. 07930
magn esium . Thes e are most ly adde d
as carbo nates or oxide s. Com binat ions
of calci um, bariu m, and stron tium
carbo nates are more effec tive in fluxing than one of these used alone .
Whe re such a mixt ure is prese nt in
the glaze , an equiv alent repla ceme nt
of one for the other s may heigh ten
the temp eratu re at whic h the glaze
matu res. Used at lowe r temp eratu res
with earth enwa re glaze s, the)' may
serve as a mean s of incre asing the
P.C.E . of the glaze to whic h they are
adde d.
Boric Oxid c
Boric oxide is an effecti ve flux whic h may be used at all
temp eratu res comm only utiliz ed in
glazi ng. Cole mani te (or, as it appears most usual ly on the mark et,
Gers tley Bora te), is a calci um-s odium-m agne sium boro n mine ral whic h
is insol uble enou gh for intro ducin g
boro n into the glaze . Bora x, altho ugh
solub le in wate r, is often intro duce d
as a flux in a glaze . This can be
rend ered effec tivel y insol uble if the
vehic le used is the dilut ed alcoh olwate r mix alrea dy ment ioned . Boric
acid, havi ng a relat ively low solub ility, can often be used effec tivel y to
intro duce boric oxide into a glaze.
It is very solub le in alcoh ol, so the
dilut ed alcoh ol solut ion ment ioned
abov e shou ld not be used here.
Mr. Behr ens will conc lude this article in the Marc h issue .--Ed .
1
I
TEACHERS!
Do you have
our new catalog?
We are manu factu rers of:
• GLAZES (H; & Low Fire)
•
CLAYS (I4 types)
ceram ic and stonew are
•
ENGOBES
We are distri butor s of:
• PARA GON KILNS
•
DOBE -GLO UNDERGLAZES
•
RAW MATE RIAL S
Send today for your FREE copy !
(On your Le~erhead please.)
1285 Old County Rood, Belmont, Calif.
(415) 593.2317
Art- Cra fts Supplies, Inc.
235 N.E. 67th St.
M;ami, Florida
Distributor for:
PARAGON Kilns • DUNCAN, SYMPHONY,
CERAMICHROME and DRAK ENFE LD
MARX Brushes •
JACOUELYN Stains
lil
P l e a s e Men tion CM
w h e n writ ing o u r adve rtise rs
,L.
5TH ANNUALCERAMICSHOW
SAN ANTONIOCERAMICART ASS'N
MARCH25-26-27, 1966
Town Hall -
SPAREX
Pickling Compounds
GLAfrom
ZESPage 36
Continued
I
ITINERARY
Continued from Page 12
OHIO, TOLEDO
through March 6 American Pressed
Glass, a gift of Mrs. Harold Duckworth,
at the Toledo Museum of Art.
OHIO~ YOUNGSTOWN
BEE BAS CH DESIGNS
70 Pine & First Sis., Encjle
Fla. 33S33
1 block east Wood 's Cocldgll wood,
Lounge, Hwy. 776
Our Molds are designed for CREATIVE
use
and EDUC ATION AL purpose
Send SI.00 today for
Illustrated Catal og, Tips & Ideas
through February 27 The 18th Annual
Ohio Ceramic and Sculpture Show, sponsored by the Butler Institute of American
Art.
PENNSYLVANIA~ PHILADELPHIA
through February 13 Invitational Regional Crafts and Water Color Exhibition,
at the Philadelphia Art Alliance.
PENNSYLVANIA, PHILADELPHIA
February 15-March 20 Finnish Crafts,
at the Philadelphia Art Alliance.
PENNSYLVANIA~ PHILADELPHIA
February 16-March 27 "Japa nese Art
Treas ures." at the Phila delph ia Muse um
of Art.
Febr uary 1966
37
CATALOG
#7
This new 6 4 - p a g e catal og lists
comp lete
every thing you n e e d - - a
line of kilns , glaze s, tools plus general supp lies and equip ment , with
m a n y new items adde d. Hobb yists ,
teach ers and studi o p o t t e r s will find
the catal og inval uable .
You'l l w a n t a copy of this all new
catal og at hand the v e r y next time
you need ceram ic, mosa ic or meta l
enam eling supp lies for your home
studi o or schoo l.
SEND FOR YOUR COPY NOW . . . . . .
SOt
TEACHERS NOTE: This catalo g is sent FREE
.
to schools, institutions and craft shops
Advertisers Index
Feb ruar y 1966
9
Alpin e Kilns . . . . . . . . . . . . . . . . . . . . . .
10
.
.
.
.
.
.
.
.
any
Comp
Clay
Art
ican
Amer
36
Ande rson Ceram ics Co . . . . . . . . . . . . . .
37
rafts Suppl ies, Inc . . . . . . . . . . . . .
Art-C
7
.
.
.
.
.
.
.
.
.
SCHAUER ENAMELS AVAILABLE
.
.
.
.
.
.
.
.
.
.
Inc
,
Baile y Films
37
Norb ert L. Coch ran has anno unced that
Bee, Desig ns . . . . . . . . . . . . . . . .
,
Basch
in
36
his firm is the exclu sive repre senta tive
Berge n Arts & Craft s . . . . . . . . . . . . . . .
Co.
&
er
Schau
the
35
for
s
State
d
the Unite
ornia Ceram ic Show . . . . . . . . . . .
Calif
4
Enam els. Schau er was found ed in 1874
Camp bell, Gilm our . . . . . 32, 37, Cove r
36
in Vienn a, Austr ia, and has becom e interal Ceram ics . . . . . . . . . . . . . . . . . .
Capit
36
natio nally know n for its jewel ry enam els.
Centr al Ceram ic Art Supp ly . . . . . . . . .
use
who
s
33
artist
n
.
.
.
.
.
.
know
.
.
.
.
.
.
nally
Ine
s,
natio
Inter
Ceram ic Expo sition
36
Scha uer enam els inclu de Vera Ronn en,
Coch ran, Norb ert L . . . . . . . . . . . . . . . . .
o,
Camp
38
del
.
.
.
.
ti
.
.
.
Smal
A
Poll,
YWC
de
ue
Leag
Paolo
nts
l;
Israe
Craft Stude
32
a.
Creek -Turn . . . . . . . . . . . . . . . . . . . . . . .
Italy; and Cann y Purch ase, South Afric
er
36
Coch ran has on hand a stock of Schau
Daws on, W.P . . . . . . . . . . . . . . . . . . . . . .
s
order
4
al
speci
ent;
shipm
enam els ready for
Dunc an's Ceram ic Produ cts . . . . . . . . .
38
are shipp ed direc t from Austr ia by air.
Fletc her Farm Craft Schoo l . . . . . . . . .
36
Norb ert L. Cochran, 2540 S. Fletc her Franc oise Ceram ics . . . . . . . . . . . . . . . . .
36
Ave., Ferna ndina Beach, Florida 32034.
Gate Ceram ic Supp ly Co . . . . . . . . . . . .
6
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
ics
Ceram
of
Hous e
36
...........
.
.
.
ce
Servi
ic
Ceram
Illini
BOOK
RY
POTTE
GREEK
5
Indus trial Mine rals & Chem ical Co . . . .
Wats on-G uptill , in coope ration with The
36
..............
.
.
.
.
.
Co
Mfg.
er
pubKemp
has
Art,
of
um
Metro polita n Muse
37
Kinn ey, Kay . . . . . . . . . . . . . . . . . . . . . .
!ished " T h e Tech nique s of Paint ed Attic
35
.
.
.
.
.
.
.
.
.
.
Sons
&
Klopf enste in, H.B.
Potte ry," by Josep h V. Noble . The book
32
Kraft Korn er . . . . . . . . . . . . . . . . . . . . . .
iescri bes all majo r types of Greek vases
3
r
Cove
.
.
.
.
.
.
.
.
.
.
.
.
.
L & L Mfg. Co . .
md how each shape was forme d by the
37
.......
.
.
.
.
.
ics
Ceram
Jean,
ard,
Leon
the
zes
mcien t potte rs. The autho r analy
11
Mayc o Color s . . . . . . . . . . . . . . . . . . . . .
amou s Greek black glaze and expla ins
35
................
Shop
o
Studi
i
Miam
s
color
their
low the vase- paint ers appli ed
32
Midw est Ceram ic Cente r . . . . . . . . . . . .
md the celeb rated Attic relief line. The
37
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Co
Minn esota Clay
a
armin g techn iques are illust rated in
Assn.
rers
factu
Manu
ic
Ceram
nal
Natio
cries of demo nstra tion photo graph s in
Cove r 2
.........................
37
chich an ancie nt kylix is re-cre ated step
...........
.
.
.
ly
Supp
ic
Ceram
Ohio
4
y step. Also inclu ded is a precis e descr lp.
.
.
.
.
.
.
.
.
.
n
datio
Foun
ic
Ceram
Orton
33
ion of the firing of Attic potte ry. Appe n...............
.
.
.
.
.
.
.
.
.
.
Co
x
Parfe
31
ices expla in the datin g and locali zation
by Dot . . . . . . . . . . . . . . . . . . . .
of i Potte ry
37
.
.
.
.
.
.
.
.
.
.
.
.
.
.
f Attic potte ry; analy ze the condi tion
Quim by & Co . . . . . . .
;
4
mese objec ts and how to restor e them
..................
.
.
.
.
.
.
.
.
.
rd
Rewa
.
37
.
.
.
.
.
.
.
and descr ibe how to photo graph them
.
.
.
.
.
.
.
.
.
.
Show
San Anto nio
36
234 pages ; 260 illust ration s. WatsonSeele y's Ceram ic Servi ce . . . . . . . . . . . .
New
way,
Broad
1564
ns,
38
.
.
.
.
.
.
.
.
.
Gupt ill Publicatio
p
Grou
Work
ge
Villa
Shak er
37
York 36, N. Y.
Sherr y's Ceram ic Supp ly . . . . . . . . . . . .
3
Skutt & Sons . . . . . . . . . . . . . . . . . . . . .
36
SIT-STAND WHEEL
Tepp ing Studi o Supp ly Co . . . . . . . . . . .
8
The Amac o No. 3 Kick Whee l featu res
Thom pson, Thom as C., Co . . . . . . . . . .
as
35
well
.
.
.
.
as
.
.
.
.
.
.
ally
.
.
ly
vertic
ts
Supp
ic
adjus
a seat that
Trini ty Ceram
37
horiz ontal ly, there by provi ding a sit-do wn
Uniq ue Kilns . . . . . . . . . . . . . . . . . . . . . .
The
38
on.
.
.
.
.
.
.
.
stand
.
.
ly
can
r
Supp
potte
ic
the
Ceram
that
whee l
Van Howe
12
West wood Ceram ic Supp ly . . . . . . . . . .
potte r who wishe s to throw tall pots can
way
the
of
out
seat
table
adjus
the
move
and stand on the steel steps welde d to the
frame work . Since the steps are abou t nine
inche s above the floor, this addit ional
ics
The /allow ing back issues o/ Ceram
heigh t can be a great advan tage. A foot
cents
sixty
at
led
ble
instal
availa
be
still
may
bly
are
Mont hly
pedal and moto r assem
of
per copy (Ohio residents pay 3% sales
on this whee l to give the potte r a choic e
.
ment
equip
tax). We pay postage.
en
r-driv
kick or powe
Amer ican Art Clay Co., Inc., Indianapolis, 1953 April, AugaxstAug~ast, December
1954 March, July,Deee~ber
India na 46222.
1955 November,
1957 April, rMay, July, August, September, Decembe
1958 June, September
HOBBY CERAMICS BOOK
1959 November
"Cera mics for Any Hand s," by Mart y
1960 June, November. Decemberber, December
y 1961 January, October, Novem
LaVo r, is a hard- boun d manu al on hobb
issue), February.
1962 January (9-year Index
l
ercia
comm
able
avail
es
utiliz
that
April, May, June, November
ics
ceram
ber
1963 June, Novem
mater ial abou t slip, clay, molds , glaze s and
June, September, Novem1954 February, May,
ber, D~ember
kilns. Secti ons are devot ed to pouri ng,
ber
Novem
1965
ng
clean ing and paint ing green ware, loadi
1966 Janua ry
and firing the kiln, apply ing glaze , and
e send remit tance (chec k or mone y
Pleas
solvin g firing and glazi ng probl ems. 116
- order) with list o[ issues desired.
pages ; detai led photo graph s. The Herm
CERAMICS MON THLY
itage Press, 2008 Comm onwe alth Ave.,
Char lotte 5, N.C.
4175 N. High St. Colum bus, Ohio 43214
SHOPPER
VANHOWE
CERAMIC SUPPLY
i185 S. CHEROKEE, DENVER 23, COLORADO
CRAFT
STUDENTS
LEAGUE
YWC A
840 8th Ave.
at 51st, N. Y.
Circle 6-3700
(212)
CERAMICS
Wood, Stone & Terra
CoHa Sculpture. A wide
variety of other crafts.
Men, Women, Teenagers.
Day, Evening. Catalog C.
Please Men tion CM
whe n writ ing our adve rtise rs
POSITION
AVAILABLE
n available for
Interesting summ er positiowho
enjoys work.
skilled ceramics craftsman Unusu
creative
leg with young people. prajecf.allyAddre
ss:
ge
New Engla nd teen-a
Mrs. Ellen Parker
SHAKER VILLAGE WORK GROUP
P. O. Box 1149, Pittsfield, Muss.
Fletcher Farm Craft Sch,
Ludlow,
Vermont
Weav ing, Early Amer ican Deco ration ,
Enam eling , Sculp turing , Potte ry,
Jewe lry, Arts & Crnfls for Teoch ers,
Crew el Embr oider y, Rose malin g,
Desig n & Printi ng, Draw ing & Point ing
infor matio n on request
Write : Mrs. Harrie t Clark Turnqulst
Chelsea, Vermont 05038
38 Ceramics Monthly
Bac k Issu es
MANUFACTU RING COMPANY Presents
Gro°to,t i, F o,omv
KILNS...
ECONO
system
All brick lace harden
3-Heat switch
all secfic
~t-off control
feel case
Peephole
each sect;
Stand on all kil
Mo
Exfens
All
face hard
ill kilns
Dyna-Glow
element holder
Elements in all rings
Stainless steel case
PeeF
]-Heat s~
Cord to plug into kiln
no separate outlet needed
W r i t e f o r l i t e r a t u r e showing comparison costs and features. See your nearest dealer.
L AND L MANUFACTURING COMPANY, Department CM, Box 348, Upland. Pennsylvania
for
HOBBYISTS
•
SCHOOLS
*
ART
&
CRAFT
CENTERS
INSTITUTIONS
FlEW KIFIGSPIFIElectric Potter's Wheel
New Large W a f e r T r a y
A New Professional Wheel at a Price you con afford
•
More powerful
•
E a s y t o Use •
Ball Bearings •
Easy
to Clea~
•
Easy to Store
S P E E D V A R I E S w i t h f o o t p e d a l - - s m o o t h as a n a u t o m o b i l e .
PORTABLE -- carry it with you anywhere. Bats fit our hand
w n e e l s - - e a c h s t u d e n t m a y h a v e o w n b a t a n d p l a c e on
h a n d w h e e l w i t h o u t l o s i n g c e n t e r . 110 V o l t A C . DC. O n e
year service warranty.
Model
KINGSPIN Electric Banding Wheel
.
•
•
e
e
•
Heavy Kinalloy 7-inch table
New - - with height trimmer
Solid cast aluminum case
I I 0 volt motor, 25 RPM
On & Off switch, 8-ft. cord
One-year service guarantee
Model E2-T$22.9S
M o d e l E-2 less trlmmer $19.95
Also Model E-3T with heavier
motor (35 RPM) for light
throwing . . . . . . . . . . . . . . .
$26.50
M o d e l E-3 less trimmer $23.50
KIFIGSPIN STEEL
WHEEL
E-6
$119.50
Jack Wolfe, our N.Y. distrlbutor
shows how to throw pots bigger
than the machine.
KIFIGSPIFI Potter's
Hand Wheel
With Height Trimmer
Rest tools and brushes on the
height trimmer - - results will
amaze you.
Wheel only.......... 56.00
(7'* Aluminum Model K-7)
Wheel with Trimmer
Model KT.7 . . . . . . . . . . . . . .
$7.00
With 7" heavy Kinalloy
table Model KH-7 . . . . . . . . $8.00
With 8" heavy Kinalloy . . . . .
table Model KH-8 . . . . . . . . $9.25
Bats recessed for 7 " . . . . . . . 85c
Bats for 7" & 8 " . . . . . . . . $1.00
KIFIGSPIFI Wheel
with Wagon Wheel Base
•
Top and base are cast
Kinalloy • Top measures 61/4..
• Shipping weight 3 Ibs.
NEW
• Our Economy Model . Kin*
alloy Bearing • Knurled Stem
• Easy Spinning • Zinc Plated
~Rustproof • 7 " Steel Top &
Boflom • Highest Qualify •
Low Price.
Model s on,y $2.95
Model W-6 only $3.95
Also available with cast aluminum head [Modet SA)...$3.95
KIFIGSPIFI Kinolite Turntable
New 12-inch model with many
uses • A 12-inch wheel for
the price of an 8-inch • Made
of KINOLITE - - latest sinktop
material used in newest homes
• Heavy Kinalloy round base
• Just the thing to use on
those lace dolls.
NEW NEW NEW NEW NEW HEW FlEW
KINGSPIN Lowboy Steel Wheel
• Our Economy Model • Kinalloy Bearing • Easy Spinning
• Zinc Plated-Rustproof • 7 "
Steel Top & Bottom • Highest
Quality • Low Price
Model $-L only
Model T-12
$6.95
With 12.inch Aluminum Table
I Model A-12) . . . . . . . . . $14.95
$2.95
This new model may be used
as a mold stand, for clay
modeling or as a decorating
wheel in spray booth.