Here`s - Ceramic Arts Daily

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...a new CM Handbook
DECORATING POTTERY
with clay, slip and glaze
by F. Carlton Ball
The techniques for decorating pottery
presented in this new handbook are
intended for use by those potters, either
beginning or advanced, who want to
explore the possibilities of surface
enrichment but lack skill or confidence
in drawing and painting. These methods
were especially devised for such persons
in order to give them some simple means
of decorating with clay, slip and glaze.
Beautifully illustrated. Only $3
per
copy
. . . order
now!
order these other famous CM Handbook s
i .....................................
WE PAY POSTAGE
T H R O W I N G ON T H E P O T T E R ' S W H E E L
by Thomas Sellers
Here's a complete nltlnulll on how to use the potter's wheel.
Covers all basic steps from w e d g i n g clay to n m k i n g specific
shapes.
80 pages $4.00
4175 N. H i g h St., Columbus, Ohio 43214
CERAMIC PROJECTS
Please send me the f o l l o w i n g :
e d i t e d b y Thomas Sellers
O u t s t a n d i n g g r o u p of projects for the classroom, home and
studio. F o u n t a i n s , p l a n t e r s , jeweh'y, bottles, amt bowls are
included.
64 pages $2.00
C E R A M I C S M O N T H L Y Book D e p a r t m e n t
.~] D E C O R A T I N G P O T T E R Y
POTTER'S WHEEL
@ $3
@ $4
--] C E R A M I C P R O J E C T S
@ $2
[ ] U N D E R G L A Z E D E C O R A T I O N @ $3
UNDERGLAZE DECORATION
by M a r c B e l l a i r e
~] C O P P E R E N A M E L I N G @ $2
This complete handbook has all the answers on materials,
tools and technique. Step-by-step projects are profusely
illustrated.
64 pages $3.00
[ ] B R U S H D E C O R A T I O N @ $3
Name
COPPER ENAMELING
b y J o Rebert and J e a n O ' H a r a
Recognized as the best in basic instruction, this elaborate
handbook has over 200 photographs. I n v a l u a b l e to teachers
and s t u d e n t s alike.
64 pages $2.00
BRUSH DECORATION
FOR
CERAMICS
by Mare Bellaire
A f a s c i n a t i n g book w i t h easy-to-follow i n s t r u c t i o n on the
use and care of brushes. E x c e l l e n t for beginners.
64 pages $3.00
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(Ohio Residents add 3% sales tax.)
Dealer Inquiries Invited
!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
i
May 1967 3
amacopollerswheels
q
HORIZONTAL TREADLE
STAND UP KICK
TWO SPEED ELECTRIC
OPTIONAL STAND
VARIABLE SPEED ELECTRIC
OPTIONAL STAND
SIT DOWN KICK WHEEL-OPTION AL
ELECTRIC SPEED CONTROL
R E Q U E S T FREE 1967
CERAMIC CATALOG NO. 51
36 PAGE TEXT
THE BEGINNER & THE WHEEL
66 pages listing 22 UL approved kilns for pottery and metal enameling; electric and kicktype potter's wheels, firing clays, dry and
liquid glazes, decorating colors, ceramic supplies and equipment.
Hand positions for basic wheel throwing
processes are illustrated with 88 beautiful
photographs. A unique technique, described
in terms of the clock dial, makes this an
excellent text for self-instruction . $1.50
Acclaimed
Everywhere
by
Teachers
and
Professiona ls
for
Performanc e
This Nationally
Recognized
Power-Driven
Precision Whee!
only $ 5 9 . 5 0
(Sh;pped complete
Less Motor)
Ideal for school, studio, home use . . . The famous B & I
Pottery Maker, first in the field, is still first in value and in
price! Simple operation, rugged construction, with all the
versatility required by professional workers! Many built-in
features . . . ADJUSTABLE arm rests: BUILT-IN water container: VARIABLE speed drive; QUIET bronze and babbit
bearings: ADJUSTABLE foot-pedal control: UNUSUAL size
range.
Before you buy, Write B & I . . . get full, free details: Pointby-point, we challenge comparison on QUALITY features , . .
Our price is still the best in the field!
B & I Pottery Maker shipped complete, less motor, f,o.b.
factory, Burlington, Wisconsin, for only $59.50.
B & I Mfg. Co., Dept. C, Burlington, Wise. 53105
"Oriqinators and makers of famous B & I GEM MAKERS"
4 Ceramics ~onthly
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 m first in color, textures and finishes.
REWARD CERAMIC COLOR MFRS. INC.
6811 W A S H I N G T O N
BLVD. ELKRIDGE 27, M A R Y L A N D
M
Volume
15, N u m b e r
O
N
T
L
H
5
Y
May,
1967
A n s w e r s to Questions . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
L e t t e r s to the E d i t o r . . . . . . . . . . . . . . . . . . . . .
7
S u g g e s t i o n s f r o m Our R e a d e r s . . . . . . . . . . . . . . . . . . . . . . . .
8
.......................................
9
Itinerary
The 12 D e s i g n e r C r a f t s m e n by R o g e r D. B o n h a m . . . . . . . .
12
Glazes f r o m P u m i c e by R i c h a r d B e h r e n s . . . . . . . . . . .
17
A s s e m b l a g e S c u l p t u r e b y R o b e r t F. E i l e n b e r g e r . . . . . .
18
A n A l p h a b e t for Cloisonne by K a t h e Berl . . . . . . .
21
S p a t t e r D e c o r a t i o n with W a x by F. C a r l t o n Ball . . . . . . . .
22
r ,
,
....D E
by Thompson
A C O M P L E T E L Y NEW
SPECTRUM
COLOR
DESIGNS
YOUR
AWAITS
VIA THOMPSON ENAMELS
all completely described
-and accurately pictured in
the new "Color Guide" section of the latest Thompson
catalog available to you
absolutely free.
Jolyon H o i s t e d : A n A p p r o a c h to Clay by L y n n e F r i e d m a n 24
E x p e r i m e n t s with the P i n c h Pot by R o g e r A. Goettsch__26
S e a t t l e C o m m u n i t y Studio . . . . . . . . . . . . .
29
Summer Workshops ................................
31
CeramActivities
..........................
Index to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . .
33
38
On Our Cover
South Carolina potter Don Lewis uses native clays for throwing
on the wheel, slab and coil building, and sculpting. He and his
wife Bennie Lee live in a cottage they built themselves near
Campobello; their pioneer-like life provides them with time and
leisure to pursue their interests. Lewis is a member of the "12
Designer Craftsmen," the subject of Roger D. Bonham's feature
story starting on page 12 of this issue.
Editor: THOMAS SELLr~RS
Art Director: ROBERT L. CRr~OER
Business Manager: SPENCER L. D^vzs
Circulation Manager: MARY RUSHLEY
Advisers and Special Contributors: F. Carlton Ball; Richard
Over 200 printed reproductions of opaque, transparent,
opal and crackle enamel colors are yours to select
from as well as instruction books to guide you in every
step of porcelain enamel work and glasscraft. Copper
pieces, shapes, tools, materials and supplies are pictured and accurately described to facilitate ease of
ordering for your every project.
You can rely on the quality of all Thompson products
and supplies through a reputation built up over 70
years as leader in the enameling field.
All orders are filled and on their way to you within
hours after receipt. Prepare now for your next enameling project. Send in today for your FREE copy of the
new Thompson catalog with the fabulous "Color
Guide". Simply mail the coupon below.
Behrens; Mare Bellaire; Kathe Berl; Edris Eckhardt; Zena
Holst; John Kenny; Karl Martz; Ken Smith; Don Wood.
Western Advertising Representative : Joseph Mervish Associates,
4721 Laurel Canyon, Suite 211, North Hollywood, California
91607. Telephone: T R 7-7556, Area Code 213.
Copyright 1967 Pro/essional Publications, Inc.
C E R A M I C S M O N T H L Y May 1967, Vol. 15 - - No. 5. P u b l i s h e d
m o n t h l y except J u l y and A u g u s t by P r o f e s s i o n a l P u b l i c a t i o n s . Inc. - S. L. Davis, Pres., P. S. Emery, Sec.; at 4175 N. H i g h Street, Columbus,
Ohio 43214. Second class postage paid at Athens, Ohio, U . S . A . Subscript i o n s : One Year $6: Two Years $10; Three Years $14. C o p y r i g h t 1967.
All r i g h t s reserved. M i c r o f i l m Copies are a v a i l a b l e to subscribers f r o m
U n i v e r s i t y Microfilms, 313 N. F i r s t St., A n n Arbor. M i c h i g a n . M A N U S C R I P T S and i l l u s t r a t i o n s d e a l i n g w i t h ceramic a r t a c t i v i t i e s are welcome
and will be considered for publication. M a n u s c r i p t s should he typed doublespaced and r a n g e f r o m 500 to 2000 words. Send m a n u s c r i p t s and correspondence about t h e m to the Editor, C E R A M I C S M O N T H L Y . 4175 N.
H i g h Street. Columbus, Ohio 43214.
T H O M A S C. T H O M P S O N C O . , Dept. CM
1539 Old Deerfield Rd., Highland Park, III. 60035
Please rush my FREE catalog of
supplies with Color Guide today.
complete
enameling
craft
NAME.
ADDRESS
CITY
STATE
ZIP__
,
........................................................
M a y 1967
5
Answers to
QUESTIONS
Conducted
by the C M
T e c h n i c a l Sta[[
0
In /iring some alkaline glazes (which use soda ash), I hate
been getting unpleasant e[[ects. The glaze appears very dull
and rough, yet 1 have seen the same glazes as used by other
potters come out smooth and glossy. In comparing [iring notes
with them, 1 just can't/igure out what 1 am doing that is wrong.
Can you oiler an), suggestion~ on this problem?--L.G.
T h e alkaline fluxes are extremely soluble a n d it is quite
possible that your bisque is fired too low. If so, it is quite porous
a n d absorbs some of the flux, leaving an incomplete glaze on the
surface. T r y firing your bisque to a higher temperature so that
it will not be quite as porous.
~
In one o[ )'our recent articles on enameling, mention was
made o[ using red carbon paper [or trans[erring a design
to the metal. Why is thi~ used instead o[ the regular black
carbon ? --J.N.K.
Black a n d blue carbon papers leave a greasy deposit on the
metal a n d this causes the e n a m e l to pull away from the sketched lines. R e d carbon paper doesn't produce this difficulty.
0
1 would like to buy some hematite, a natural iron oxide,
but several dealers hat'e in[ormed me that the)' do not carry
it. Can you supply the name of a place where it can be obtained?--E.B.
I doubt that you can obtain true pulverized h e m a t i t e in
the open market. It was often used d u r i n g the 19th c e n t u r y as
a p i g m e n t in " r e d - b a r n " paints b u t was replaced some time ago
with a m a n u f a c t u r e d red iron oxide m a d e from scrap iron. T h i s
process produces a purer, more dependable p i g m e n t t h a n that
m a d e by c r u s h i n g h a n d - p i c k e d h e m a t i t e ore.
If you intend to use this oxide as a glaze colorant you m a y
find it possible to purchase scrap ore from hobby mineral or
rock-hound shops a n d powder it in a mortar. It should, of
course, be screened to 100-mesh or finer. Should you order
hematite from a chemical supply house, they could legitimately
send you red iron oxide, since this term is sometimes used for
both the natural a n d the m a n u f a c t u r e d variety.
Unless you secured a very impure variety of hematite, you
would notice practically no difference in coloration or texture
between the use of equivalent a m o u n t s of the two. C o m m o n
impurities in hematite are t i t a n i u m a n d m a g n e s i u m , a n d you
m i g h t achieve some subtle a n d rather m i n u t e c h a n g e s by the
use of this formula: R e d Iron Oxide, 9 8 % ; Rutile, 1 % ; a n d
Dolomite, I % . - - R . B .
9
1 recently came across a re/erence to a "'bisque stick" [or
mending hairline cracks in bisque ware, but there was no
explanation o[ what this was or where it can be obtained. Any
help?--Mrs. H.F.
T h i s is s o m e t h i n g you will have to m a k e for yourself, from
the same clay you are using for your pottery. Roll out a m e d i u m size coil of the clay, t h e n cut it into several short lengths. W h e n
the clay is dry, p u t it in the kiln a n d bisque fire it to a very
low t e m p e r a t u r e (about Cone 019). W h e n this bisque crayon
is d r a w n across a hair-line crack, the soft bisque will pack
readily into the line. W h e n it is glazed, the repair should be
unnoticeable.
CERAMICHROME INC.
P.O. Box 2086
Gardena, Calif. 90247
Ceramics Monthly
All subscriber inquiries are given individual attention at C M ;
and, out o[ the many receit,ed, those o[ general interest are
selected [or answer in this column. Direct your inquiries to the
Questions Editor, CM, 4175 N. High St., Columbus, Ohio 43214.
Please enclose a stamped, sel[-addressed envelope.
LETTERS
Share your thoughts with other C M readers--be they quip, query, comment or advice. All letters must be signed, but names
will be withheld on request. Address: The
Editor, Ceramics Monthly, 4175 North
High St., Columbus, Ohio 43214.
THANKS
TO
COLSON
The article by Frank A. Colson ("Oxide
and Wax-Resist Decoration") in the February issue was one of the best I've seen
on the subject of glazes and colorants for
the studio potter. For years I have experimented with every glaze formula I could
get my hands on, explored all of the possible colors for these, and made test pieces
--thousands of test pieces! My glaze notebook and sample boards and boxes are
bulging with the results! Thanks to Colson, I can now discard most of this litter
and settle down with a couple of glazes
that work well for me, and restrict my
color palette to two or three oxides. This
is a sensible idea, one that should have
occurred to me long ago. Mrs. R. Benton
Pittsburgh, Pa.
HOWEVER
help and joy in all my classes for many
years. I have all issues from the very first
ones published. Would you kindly let me
know which issue contained the information regarding the construction of tall pots
F. Menaker
made in small kilns?
Bronx, N.Y.
This was "Big Pots [rom Little Kilns,"
by F. Carlton Ball, and it appeared in the
]une 1956 issue.--Ed.
--
ANTICIPATION
AND
DELIGHT
• . . I look forward
to the publications
of
CERAMICS MONTHLY with anticipation
and delight. Dinner waits while I quickly
look through to see what I will spend the
evening doing--either reading with pleasure, or trying to put some of the unusual
designs and techniques immediately into
practice. Thanks for years of pleasure.
M. L. McBlair
Annadale, Va.
m
. . .
Frank Colson's recommendations about
using one or two glazes and just a few
colorants is interesting and thought-provoking. Perhaps it has some special application for high-fire work, since he lists
Cone 10 glaze recipes and talks about
reduction. However, to those potters like
myself who work at lower temperatures
and can't do reduction firing, this theory
seems too limiting• From my mvn experience I can report that I haven't been able
to get a satisfactory range of glaze colors
and textures from any single glaze or
limited use of colorants• Perhaps you can
persuade one of your other writers to discuss this subject, with low-fire work in
B.L. Oaks
mind.
Santa Fe, N. Mex.
× J
:'
:
,
GOOF
I enjoyed reading Gail Kristensen's article ("Directions in Ceramics") in the
April issue. However, I was a bit confused with the caption for the top picture
on page 27. A planter with a candle
G. Roberts
inside? Or was this a goof?
Orient, Ohio
It was indeed a goo[/ The caption
should have read "'Stoneware l a n t e r n . . . " ,
not planter.--Ed.
We like People who like to make Pots!
Because of this we handle a complete
line of clays, glazes, tools, chemicals
and accessories (Mayer Shacter, of
the Venice Pottery Gallery, depends
upon us for his materials). Send for
our free Catalogue and see what we
have that will help you get potted.
AFTER TWO YEARS
I enjoy articles on specific potters, both
in this country, and others. After two years
of trying, I have finally received some pottery from the Hettigers in ttafenlohr, Germany, to add to my collection. CM told
of this place in the December 1961 issue
("An Old World Pottery," by Ann Moore
G. Williamson
and Wilfred Harbke).
Oxford, Ohio
HELP AND JOY
CERAMICS MONTHLy has been a great
Westwood Ceramic Supply Co.
610 Venice Blvd.
Venice, Calif.
May
1967
7
SUGG ESTIO NS
[rom our readers
SLING FASTENERS
When a slat) is shaped by suspending or slinging it on a
cloth "hammock" inside a box, it usually is difficult to fasten
the cloth to the edges of the box. This is a particularly troublesome task because the cloth may need to be refastened several
times until just the correct shape is obtained. I have found
that spring-type clothes pins can be used for this task. This
type of fastening is much easier and quicker than thumb tacks
or any other material I have ever tried. --].R.B., Athens, Ga.
CERAM ICS a p o t t e r ' s h a n d b o o k
b y G L E N N C. N E L S O N
T h i s d e f i n i t i v e book on ceramics h a s been b r o u g h t completely up-to-date, expanded, a n d f u r t h e r i l l u s t r a t e d f o r
the use of a m a t e u r s , professionals, t e a c h e r s - - a l l who
f o r m , kiln-dry, decorate a n d glaze clay.
A s in its previous edition, C E R A M I C S covers in a
p r a c t i c a l m a n n e r v i r t u a l l y e v e r y t h i n g a b o u t its s u b j e c t :
h i s t o r i c a l a n d c o n t e m p o r a r y eeramms, design concepts,
f o r m i n g techniques, clay, glazes, c e r a m i c chemicals, decoration, a n d sources of m a t e r i a l s a n d equipment. N o t merely
a " h o w - t o " guide, t h e book includes sections (special equipment, t h e c h e m i s t r y of ceramics, a n d s i m i l a r sophisticated
topics) f o r t h e a d v a n c e d s t u d e n t or t h e professional.
One of t h e a u t h o r ' s a i m s is to r e d u c e the i n i t i a l d i s a p p o i n t m e n t of t h e b e g i n n e r ; f o r t h i s reason, each procedure,
f r o m t h e l u m p of w e t clay to t h e fired object, is carefully described. A n o t h e r of his a i m s is to p r e s e n t t h e
aesthetic, as well as t h e t e c h n i c a l possibilities of p o t t e r y
m a k i n g ; f o r t h i s end, t h e i l l u s t r a t i o n s ( t h e r e a r e more
t h a n 300, w i t h 8 p a g e s in full color) a r e as useful as they
are handsome.
N e w to t h i s edition is a c h a p t e r on basic desig.n. In
addition, t h e r e is n e w m a t e r i a l on J a p a n e s e ceramms, a
n e w c h a p t e r on t h e c o n s t r u c t i o n a n d o p e r a t i o n of kilns,
a n d a new c h a p t e r on m a s s p r o d u c t i o n methods.
F r o m c h i l d r e n ' s c a m p s to college u n i v e r s i t i e s , CER A M I C S continues to be the most complete a n d e x p e r t aid
a v a i l a b l e to the e n j o y m e n t a n d m a s t e r y of ceramics.
$7.50 p e r copy.
Glenn C. Nelson is currently teaching ceramics at
the University of Minnesota at Duluth. He has not only
studied at several art schools but also holds degrees from
the University of Wisconsin at Milwaukee and the State
University of Iowa. His several periods of travel and
study abroad and his own commercial workshop experiences
have greatly enriched his background in and knowledge
of ceramics.
W e Pay Postage
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417S North High Street, Columbus, Ohio 43214
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t
Ceramics M o n t h l y
GLASS MOBILES
People who like to work with glass can make mobiles similar to those made from clay. A glass cutter is used to cut out
various shapes from clear or colored glass, preferable in freeform shapes which make more interesting abstract sculpture
and cast the best shadows. Pieces of broken bottles, beach
glass or glass beads may be used with these. Clear glass shapes
may be colored with glass stains, glazes, or glass fragments;
they may be laminated with color, mica, or copper wire designs.
When two pieces are to be laminated, half of a copper
paper clip or a looped wire can be inserted between the sections of glass, allowing the U-shaped end to protrude as a
means of hanging the finished piece. On a single glass form,
a small piece of glass might be used to cover this wire. Perhaps it might be held in place by a wing on a bird shape, an
ear on an owl, or a fin on a fish.
Whiting is sifted onto the shelves before the glass pieces
are put into the kiln for firing. These pieces are fired as usual for glass, leaving the door ajar slightly until the glass becomes glossy and the edges begin to round (The glass I use
needs about 1400" F). When the heat is turned off, the door
is left open a few minutes to lose the after-heat. T h e n the door
is closed again and remains closed until the kiln is cool.
Finished pieces may be suspended with nylon or thin wire
to create a mobile that balances properly and presents good
design, color and movement. --H.Y. Vose, S. Portland, Maine
WASHING PLASTIC BAGS
For anyone who uses plastic bags in the studio for storing
moist clay, here is a method for cleaning them for re-use and
always having a fresh supply on hand. I wash my dirty plastic
bags in the washing machine. I add a small amount of soap
or water softener to the water, then let the machine complete
its cycle. Any water trapped inside the bags is shaken out, then
the bags are hung upside-down by the corners on the clothes
line to dry.
--Phyllis Stier, Campbell, Calif.
HINTS
Occasionally the enamelist or ceramist wants an accent
color, perhaps a special one, that is hard to find among his
supplies. I discovered that the imported glass tesserae sold for
mosaic work can be used in place of enamel lumps, or for
"pool" effects in ceramic bowls. The tesserae can be broken
into smaller pieces and melted on the enameled surface, or they
can be scattered in the bottom of a small glazed bowl and fired
to a temperature just hot enough to melt the glass. The tesserae
come in a glorious range of colors and most of t h e m - - e v e n the
reds--hold their colors very well if they aren't fired much above
Cone 014.
--D. Walker, Trenton, N.].
TESSERAE
DOLLARS FOR YOUR IDEAS
Ceramics Monthly pays up to $5 /or each item used in this
column. Send your suggestions to CM, 4175 North High St.,
Columbus, Ohio 43214. Sorry, but we can't acknowledge or
return unused items.
ITINERARY
Send your show announcements early:
"Where to Show," three months ahead
o[ entry date; "'Where to Go," at least
six weeks be[ore the opening.
WHERE TO SHOW
INDIANA, INDIANAPOLIS
May 13-14
The 12th Annual Talbot
Street Art Fair, sponsored by Indiana
Artist-Craftsmen, Inc. Open to residents
of Indiana; Original work in all media.
For entry blank, write: Sally Gallaway,
251 East 47th St., Indianapolis 46205.
OHIO, MASSILLON
July 8-September 3 The 32nd Annual
Ohio Artists and Craftsmen Show, sponsored by the Massillon Museum, is open
to present and former residents of Ohio.
Media include crafts and sculpture. Entry
fee; Jury; Cash awards. Deadline for
entries is June 12. For information, write:
Massillon Museum, 212 Lincoln Way East,
Massillon 44646.
held at the New Ocean House. Show
Chairman is Trudie Fridell, 36 Rossmore
Rd., Lynnfield, Mass.
an exhibit of paintings by Missouri artists.
Information may be obtained by writing
to Betty Falzone, secretary, 1100 Fisk Ave.,
Moberley 65270.
MISSOURI~ MOBERLEY
May 21-22 The Little Dixie Fine Arts
Association will hold its 1967 Art Show
at the Municipal Auditorium. Featured
will be ceramics, crafts and paintings by
members. In addition, art work by school
students will be shown and there will be
...................
NEW JERSEY, ASBURY PARK
May 18-21 The 15th Annual Eastern
Ceramic Hobby Show, to be held at Convention Hall, features exhibits, an amateur
competition, and the "Pageant of TechContinued on Page 11
I
_I_
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SPECIAL FOR HOBBYISTS
FLORIDA, MIAMI
June 24-26 The South Eastern Regional China Painting Show will be held at
the McAllister Hotel. For information,
write: Agnes Smith, 12320 W. Dixie Hwy.,
North Miami, Fla.
\
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FLORIDA. PALM BEACH
September 28-October 1 The Second
Annual Southeastern States Ceramic Hobby Show will be held at the Palm Beach
Towers. For information, write: Jerry
Gasque, Convention Hall, Asbury Park,
N.J.
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ILLINOIS, CHICAGO
July 13-16 The Chicago Show will be
held at the "Edgewater Beach Hotel. For
information, contact: E. Kane, Box 115,
Wilmette, Ill. 60091.
ILLINOIS, CHICAGO
July 20-22 Trade Show of the National Ceramic Manufacturers Association,
open to teachers, studio owners and distributors, will be held at the Sherman
Hotel. Featured will be exhibits by manufacturers, demonstrations, teachers educational programs and business seminars. No
invitation required. Show Chairman is
Olevia Higgs. For information, write:
N.C.M.A., P.O. Box 381, Ridgewood,
N.J. 07451.
th.
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KANSAS, WICHITA
June 16-18 The Annual Ceramic Show
of the Air Capital Ceramic Association
will be held at the Broadview Hotel. Show
Chairman is Esther Sinclair, 756 S. Holyoke, Wichita 67218.
This is the kiln that is ideal for both H i g h School and University
level. L a r g e c a p a c i t y - - h a s dimensions of 24" x 24" x 30" high. Perfect
top to bottom u n i f o r m i t y is obtained by use of seven input p o w e r
controls enabling precise a d j u s t m e n t of heat in each section. Kiln is
ruggedly constructed throughout. H e a v y insulation provides m a x i m u m
heat retention and slow cooling. Prieed at only $1050.00.
Write for free catalog which illustrates
our full line of kilns from $79.50 up.
MASSACHUSETTS~ SWAMPSCOTT
September 8-10 The 10th Annual Boston Ceramic Show, sponsored by New
England Ceramic League, Inc., will be
3r23 West Maple Ave.
J. J. CRESS
COMPANY
INC.
Monrovla, California 91016
M a y 1967
9
Something Different...
NATURE AS DESIGNER
This unusual and stimulating book presents a treasured
collection of plant life which demonstrates in a unique
and very effective way the beauty of form in nature.
The illustrations are of seed pods, lichens, grasses, mosses
and other fascinating items of the woods and fields that
the author has collected in walks through the countryside.
The designs and "collectible" forms of beauty assembled
here will suggest an infinite number of shapes and textures
for pottery. All of the photographs selected for use in this
volume are of exceptional quality, and those potters who
share an interest in photography or nature will find this
book of special interest. Every potter will find an astonishing new vocabulary of forms in this introduction to the
obvious in nature which often escapes our attention.
This superbly illustrated volume was originally published
in Sweden and has met with great success abroad among
artists, designers and craftsmen (partlculnrlv Dotters}. An
10
Ceramics Monthly
Berte' Bager
English edition of NATURE AS DESIGNER is now published by Reinhold Publishing Corporation of New York City,
and we are happy to have this new title to offer to our
readers through our Book Department.
This book would make a wonderful gift for a potter friend.
Be sure to treat yourself to a copy, too! Price: $12.S0
I' CERAMICSMONTHLY Book Department
1
4175 North Hiclh Street. Columbus. Ohio 43214
I Please send me - cop|es of NATUREAS DESIGNER @ $12.50 I
Name
J Address
City
I
I
We
I
State
Zip
Ohio residents add 38c per copy sales tax.
I enclose [] Check [] Money Order
Pay Postage
Sold on our Usual Money.Back Guarantee
i
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I
ITINERARY
Continued from Page 9
niques." Write: Jerry Gasque, Convention
Hall, Asbury Park 07712. For entry forms
for the amateur exhibit, write: Grace
Carini, 8 Drake Lane, Upper Saddle
River, N.J.
NEW YORK, HAMILTON
July 28-30 " E x p a n d o r e e
Ceramic
Show," a benefit for the expanding
Community Memorial Hospital, will be
held at the Colgate University- Campus.
N.C.A. categories and special categories
for fine arts and glass; Amateur and professional; Over $1.000 in cash awards. For
prize list, write: Jamboree Ceramic Show,
Box I l l , Hamihon 13446.
INDIANA., FORT WAYNE
through May 14 "Finland - - Design
Today," a selection of work by Rut
Bryk, Toini Muona, Birger Kaipianen
and others. At the Saarinen-designed
campus of Concordia Senior College.
INDIANA, XNDIANAPOLIS
May 13-14 The 12th Annual Talbot
Street Art Fair, sponsored by Indiana
Artist-Craftsinen, Inc. On Talbot Street,
between 14th and 15th Streets.
MASSACHUSETTS, FALL RIVER
through May 14 Eleventh Annual Na-
tional of the Greater Fall River Art Association shows work in all crafts and
sculpture; at the Association building.
MASSACHUSETTS, LEVERETT
April 29-May 7 The Second Annual
Show and Sale of work by professional
New England artists and craftsmen; at the
Leverett Craftsmen and Artists.
.'~*EW HAMPSHIRE, MANCHESTER
May 27-June 18 "Glass from Czechoslovakia," Smithsonian Traveling Exhibition, at the Currier Gallery of Art.
Continued on Page 37
WEST VIRGINIA, PARKERSBURG
June 16-17 Fifth Annual Competitive
Ceramic Exhibit and Show of the Parkersburg Ceramic Art Association will be held
at the Y.W.C.A. Building. For information, write: Jesse A. Davis, 3309 Clement
Ave., Parkersburg 26101.
WHERE TO GO
Because listings are subject to change,
dates can be verified by writing to the
sponsoring groups or galleries.
CALIFORNIA, SAN FRANCISCO
May l-June 4 "Chinese Art From the
Collection of the King of Sweden," at the
M.H. DeYoung Memorial Museum.
CALIFORNIA, SIERRA MADRE
May 20-21 Outdoor Artfair, presented
by Friends of the Sierra Madre Library;
at Sierra Madre Memorial Park.
CONNECTICUT, BROOKFIELD
May 27-28 Fourth Annual Craftsmen's
Fair, exhibition and sale of work by 25
professional craftsmen. At the Center.
D.C.,
"~VAS H INGTON
May 2-June 5
Pottery by PauIline
Wright; at Craft House, Georgetown.
FLORIDA, CORAL GABLES
through May 1 Ceramics by Juanita
May; at the Lowe Art Gallery.
GEORGIA, ATLANTA
through May 17 Ceramics by Charles
Brown; at the Signature Shop.
ILLINOIS, CHICAGO
Continuing Chinese Pottery of the T a n g
Dynasty, at the Art Institute of Chicago.
ILLINOIS, CHICAGO
through May 5 "Ceramic Arts - U.S.A.," Smithsonian Institution Traveling Exhibition, at the Chicago Illini
Union Building of the University of Illinois Medical Center, 828 S. Wood St.
ILLINOIS, SKOKIE
May 27-June 18 The 24th Ceramic
National Traveling Exhibition; at the Administrative Center of International Mineral and Chemical Corp.
"7
How brave the bull! How bold the matador!
And how skillful the ceramist when you finish these
pieces in MAYCO glazes- in this case
Black Lustre, Black Hesitation and Vibrant Red.
You win the plaudits of the crowd every time
with MAYCO~ COLORS--One Stroke, Underglazes,
Crystal Clear Glazes. All MAYCO products are
homogenized for easier application and fire at Cone 06.
Send for free color chart. Dealerships available.
m( co
colors
20800 Dearborn, Chatsworth, California 91311
M a y 1967
11
by ROGER D. BONHAM
Opposite page: The shop o[ the 12 Designer
Cra[tsmen is located at the convergence
o[ two thorough[ares in the busy resort
town o[ Gatlinburg, Tennessee.
12 Ceramics Monthly
T o THE ARTIST-CRAFTSMAN,be he newly graduated or a
seasoned veteran, the creation of beautiful things is his
life. Selling is usually alien to his nature. Yet sell he
must, if he is to survive.
Many fail to solve the marketing problem, and
others refuse to cope with it; they become teachers or
use their skills in other ways. The few who do manage
to cope with marketing must accept the search for outlets, packaging and crating, details of insurance and
shipping, loss due to breakage, publicity and promotion
--all of which cuts into their production time. Which is
to say, creation time.
Consignment selling, most say, is unsatisfactory since
it places maximum risk on the artist-craftsman. Stores
dealing in crafts, and even some museum shops, require
a husky percentage of the sales price, leaving the artistcraftsman less for his efforts. Some shops are frankly
unable to sell a given craftsman; or, sales may be small
due to the sales people's unfortunate tendency to sell the
works which they themselves prefer.
All of the above may apply to most artist-craftsmen
but certainly not to the 12 Designer Craftsmen~ a little
band whose members live and work in various parts of
the Southern Appalachians, but who sell as a group. The
eleven (the twelfth craftsman spot is invitational) three
years ago organized and set up a unique shop of their
own in Gatlinburg, Tennessee, a resort town at the gateway to the Great Smoky Mountains National Park.
What makes the 19 Designer Craftsmen shop unique
is that it is owned and governed by-and-for the artistcraftsmen themselves. Not only has the idea proved
workable, the shop is a highly successful venture for all
concerned--much to the astonishment of some. As one
of the Designer-Craftsmen put it: "The most amazing
thing about the entire undertaking is that 12 prima donnas can work together in harmony[ It's probably an
historic first."
The fact is that the partners are all friends who
like and respect each other. But they are a "heterogeneous group," as one member described them, and this very
diverseness has been a factor in their success. The group
is made up of potters Lynn Gault, Don Lewis and Sara
Young; enamelists Peg Boarts and Jane Glass; printmakers William Kosloff and Fannie Mennen; weaver
Tina McMorran; wood carver Fred Smith; and jewelry
and candle makers Bernice Stevens and Alice Zimmerman. All are individuals producing individual work.
How the 12 Designer Craftsmen shop came to be
is a story of creative enterprise. Late in 1962, nine
designer-craftsmen, all members of the Southern Highlands Handicraft Guild, united to form the DesignerCraftsmen of the Southern Appalachians. They had no
thoughts of competing or setting up a crosscurrent with
the Guild; they simply found that, joined, they could
more easily exhibit their wares. Other craftsmen were
added to the group. Then, in the fall of 1963, an incident occurred that led to the creation of the shop.
At that time a representative of Rich's in Atlanta,
Georgia, asked them to incorporate a display of their
work into the department store's annual January Home
Show. To do so would mean a husky upsurge in the
craftsmen's output. Christmas work was already straining their production, but all made the effort since, as
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Opposite page
SARA YOUNG [or the past 15 years has maintained
her own studio, The Eagle Bend Pottery, at Clinton.
Tenn. Although a native Southerner, Miss Young
studied at the School [or American Cra[tsmen in
Rochester, N.Y.; later traveled in Europe with the
University o[ Tennessee Cra[t Study Tour.
The Designer Cra[tsmen are pictured
below. Seated (le[t to right) are
Fred Smith, woodcart'cr: Sara Young.
potter: 7'ina McMorran, weaver:
Peg Boarts, enamelist; Alice Zimmerman,
jeweler and candlemaker.
Standing (le/t to right) are lane Glass,
cnamelist; Bernice Stevens, )ewcIer
and candlemaker; William Koslo[[,
printmaker; Fannie Mermen, printmaker;
Don Lewis, potter; Lynn GauIt, potter.
DON LEWIS, youngest o[ the 12 Designer Cra[tsmen,
is an ex-Marine aerial photographer. He came to
pottery via a degree in line arts [rom Furman University,
and a graduate course under Marguerite Wildenhain
at Pond Farm Workshop. Don and his wile Bennie
Lee live and work in a cottage which they built
themselves near Campobello, S.C. ~
L Y N N G A U L T [irst pursued pottery as a leisure
activity while serving as a stage designer [or "Unto These
Hills," outdoor drama held annually in Cherokee, N.C.
It soon became so absorbing to him that he le[t his
position as Designer and Technical Director o[ the
Department o[ Dramatic Art at the University o[ North
Carolina, and set up his own pottery on Bird[oot
Ridge near Bras~town, N.C.
....
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one said, "the opportunity of reaching a new market
was too important to be lost."
On January 5 they arrived by car and station wagon
loaded down with the required handcrafts. Someone
totaled the worth of their wares--it came to more than
$30,000! That night, when the tired group met at Fannie Mennen's motel room, talk turned to how they had
been able to produce so much work despite their other
commitnmnts. Then the suggestion arose: Why not open
their own store and stock it?
Jane Glass knew of a place: the workshop of the
Wood Whittlers, a furniture-maker in Gatlinburg. Gatlinburg, as it turned out, was a happy choice. For one
thing, several of the designers already lived in the vicinity; the others were within reasonable driving distance.
More important, the town is a bonanza of tourists in
summer and fall. An estimated five million people visit
the National Park every season. To accommodate them,
Gatlinburg, in off-season a quiet little town of just over
2,000 inhabitants, abounds in motels (the Chamber of
Commerce says we have 13,000 "pillows," volunteers Alice
Zinnnerman), restaurants, and shops offering everything
froin beach balls to the inevitable stuffed bears.
The Wood Whittler's workroom had the makings
of a shop, all right; in fact, it had been so designed.
The stone-fronted building sat at the convergence of
Ro'.m~ 73 and Roaring Fork Road, with windows facing
both thoroughfares. The resuh would be a see-through
effect, wonderful for showing off their work.
Inside it was less promising. Don Lewis remembers
it as "Windows covered with wood dust, power tools in
the nfiddle of the floor, bare metal beams in the ceiling."
In a short time, however, the Wood Whittlers had relocated in a building across Roaring Fork Road. In the
shop-to-be the landlord installed a dropped ceiling, lighting, and a new floor. Then it was the designers' turn.
Like actors preparing for opening night, they painted
walls in charcoal, grey, and persimmon; the alcove left
after a storage room was set off was covered with offyellow burlap as a foil for Tina McMorran's weavings.
The over-all store layout was put in the hands of Lynn
Gault and Don Lewis, with help from Sara Young.
Lynn and wood carver Fred Smith fashioned much of
the counter-furniture. Everyone lent a hand with painting, cleaning and setting up displays.
"That's the way we work," explained Bernice Stevens, who for the first two years was president of the
group. "Everyone has a say in what we do, but we make
decisions as a body. Then everyone bears a hand where
he or she is best fitted to do so."
During that period they met monthly, for there were
many decisions to make and problems to resolve. One of
their wisest moves, they feel, was to give each artistcraftsman a "one-man show" display. (Of course, where
it comes naturally, some overlapping occurs. The Stevens
and Zimmerman candles, for instance, complete lanterns
by Young, Gault and Lewis.) Then to give the entire
store a focal point, a large center unit was set up to
display pieces by all the craftsmen.
Another factor vital to their success was selection
of the store manager. Mrs. Annette Watson of Gatlinburg now manages the store full-time. "Not only does
she have the personality and sales ability, but Annette,
being a native, is able to obtain good sales workers from
among the local population," explains Bernice Stevens.
"The mountain people," she added, "are very shy until
they know you, and they know and accept Annette."
Gault, who served as the 1966 president of the or-
May 1967 15
The center section o[ the shop
is arranged to show the work
o[ all 12 Designer Cra[tsmen.
Each cra[tsman has a one-nlan
d~o:c display. Some of tile work
Another view o[ the center section
(below) [eatures "people bottles"
by Lewis, candles by Stevens and
/i,,,,, ~,la,,. a,</ a .'.,' t~ l'oz~g.
16
Ceramics Monthly
ganization, also noted that having the twelfth member as
a guest exhibitor has proved salutary. A new artist-craftsman every three or four months he said, "adds variety
to the shop and gives us a continuing source of publicity."
The invited artist, of course, must meet the high standards of the shop and be acceptable to all members. Last
summer's exhibitors were Edna Richard of Gatlinburg,
puppet maker and weaver: and Bill Lett of Knoxville,
who makes welded sculptures.
Nowadays the Designers meet only two or three
times a }'ear, usually at Skyhigh, the Gatlinburg mountain home and workshop of Bernice Stevens and Alice
Zimmerman. To make everything official they have
incorporated, but continue to function with as little
organization as is workable. Creative people as a rule
abhor committees, but the Desig-ners do have some job
assignments. Fannie Mennen, for instance, handles nmch
of the promotion and publicity, having gained experience
in running her annual Plum Nellie Clothesline Art Show.
Bill Kosloff, printmaker and ex-ad man, does any twodimensional layouts needed, such as for brochures and
placards. He even prints these on the press that graces
his living room. Lynn Gault, Don Lewis and Sara
Young are charged with setting up displays of invited
artists and with revisions of the centerpiece display.
Bernice Stevens also does some writing and publicity
work, and, as shop coordinator, occasionally helps out
in selling at the store. Other members do the remaining odd jobs.
To all intents and purposes, the store now runs itself.
In summer, when vacationers invade Gatlinburg, the 12
Designer Craftsmen is busy from 8:30 a.m. to 8 p.m.
Winters, the hours are 12 to 5 p.m.; but with the town
now attracting a growing number of skiing enthusiasts,
this could change. So thriving is the shop, several of the
craftsmen expressed the wish they "could produce more."
Others, with greater facility or more time, keep their
stock at high levels and even supply other outlets. Outside selling is permissible under the organization's rules,
but the members always give their own shop first consideration.
Bernice Stevens points out "a wonderful advantage"
to the shop: "We can try out new things there--always
a hard point when selling in someone else's store. We
can also decide how our things will be shown. It can
be disconcerting to go into a shop that handles your
work and find it hidden someplace, or scarred or dusty
- - o r just plain neglected."
Perhaps the most important point to be made about
the 12 Designer Craftsmen is this: except for the periodic
meetings or small chores, the artist-craftsmen can forget
the problems of marketing. To put it another way, they
are free to create, produce, and study. To find ways to
speed up production is not one of their study projects,
even though that might put more money in the till.
Clearly this would be a negation of the 12 Designer
Craftsmen's Credo, which reads:
"Ours is not a race with the machine. In the midst
of a mechanized civilization, we work with our hands to
express our sense of beauty, designing and making each
article in its entirety. We strive to maintain standards
of excellence worthy of our training, our ideals, and our
heritage."
GLAZES FROM PUMICE
by RICHARD BEHRENS
PUMICE is fairly well known to the layman as a form of volcanic rock, and,
in its powdered form, as an abrasive,
cleaning and scouring agent. Less well
known is its possibilities as a major
glaze material. To the potter who may
never have used it in preparing a
glaze, it may be associated with lava
and thus suggest a means of securing
a rough, lava-like surface on a pot.
Pumice is a volcanic glass, which,
in nature, forms a honey-combed mass
due to the gases dissolved in the original magma. This is liberated as the
fluid mass solidifies. When powdered
pumice is melted, it returns to its original glassy state. This suggests its natural frit character. T h a t it is such can
be shown by a study of its unity formula, which is practically identical
with that of ordinary feldspar in its
content of potash and soda, as well as
alumina. It differs primarily in containing approximately twice as much
silica.
This composition suggests the use of
this material as a basis for stoneware
glazes. By use of whiting-pumice
mixtures it should be possible to produce a good glaze in the higher cone
ranges.
A series of pumice-whiting mixes,
using small amounts of china clay to
assure a good glazing consistency, was
made and fired to Cone 9. To a mixture of 6 parts of pumice and 1 part
of china clay, proportions of 1, 1.5, 9,
2.5 and so on of whiting were mixed
progressively until a proportion of 6
parts of pumice, 1 part of china clay
and 5 parts of whiting was obtained.
The first five mixes, up to 1 part
china clay, 6 of pumice, and 3 parts
in subdued hues. That test containing
0.5% of cobalt carbonate gave a nice
blue; a combination of 2.5% of red
iron oxide and 1.5% of copper carbonate gave a greenish brown; and
one containing 1.5% manganese carbonate and 0.25% cobalt carbonate,
produced a gray-blue.
Additions of magnesia or barium
carbonate to the pumice glaze mixes
were productive of good glazes. A
pleasing celadon was made from:
CELADON (Cone 9)
Pumice
58.4%
Whiting
30.0
Magnesium Carbonate
3.3
China Clay
8.3
100.0%
Pumice glaze is well adapted [or use
with [ree-form shapes.
of whiting, produced a honey color,
and increasing mattness as the whiting content increased. The glazes containing 3.5 parts of whiting to the 6
pumice and 1 china clay, up to 5
parts of whiting, were increasingly
dry and stony in character.
Of the satisfactory matt glazes, the
following was selected:
CONE 9 GLAZE
Pumice
China Clay
Whiting
60%
10
30
loo%
To this was added 5% red iron
oxide, 3% copper carbonate, 0.5%
cobalt carbonate, 5% manganese carbonate and 5% ruffle, in a 50-50
color blend. The resulting colors were
To this was added 1% black iron
oxide; firing was to Cone 9.
A strong celadon resulted from the
following formula:
SATINY CELADON (Cone 9)
Pumice
56%
Whiting
28
Barium Carbonate
8
China Clay
8
100%'
To this was added 1% black iron
oxide. The glaze was fired to Cone 9
in reduction.
Although pumice lends itself well to
the formulation of stoneware glazes, it
can also be adapted for use in medium and low temperature glazes. For
this purpose fluxing materials such as
colemanite, calcium - bearing borate
frits, as well as lead monosilicate or
other lead frits, may be used to lower
the maturing range of the pumice. A
few mixes tried at the desired cone
temperature will quickly establish a
desirable composition.
May 1967
17
ASSEMBLAGE
SCULPTURE
by ROBERT F. EILENBERGER
A complex grouping of pressed
[igures was made by the same
method described in the article.
ARTISTS AND CRAFTSMEN no longer have to go to large
cities to find good teachers and advice. Ceramists in
Oregon, Vermont, or Texas have equal opportunities for
learning and exchanging ideas because of the advances
made in communication. Individual and group exhibitions, educational television programs, and a weahh of
books and magazines bring the ideas and expressions of
gifted artist-craftsmen and teachers to nearly every part
of the country. Perhaps the craftsman who is somewhat
isolated and therefore limited in teaching resources is
just as well off, anyway. In many cases too much learning from others has a dulling effect on the natural spontaneity in each of us.
All of us who have to do with art in any capacity
are propelling it somewhere. Art in ceramics comes about
as the result of a balance between the materials used and
an aesthetic approach to a real or imagined subject.
Even while the ceramist is learning his craft and disciplines, he should continue to experiment and venture
i8
Ceramics Monthly
into the imaginative and dream world. He must refrain
from settling down to a dreary repetition of a particular
style.
Clay sculpture has ahvays been a favorite form of
work to me and I particularly like pieces with quiet
dignity and ethereal detachment. In the creation of
sculpture we may linger and indulge our imagination
to create ideas which seem to have no place in time.
A great deal of the clay sculpture created in the
one-of-a-kind processes is carefully planned so as to have
a rather bulky or massive appearance, yet be hollowed
out to prevent the possibility of cracks during drying
and firing.
In nay pursuit of a light-weight piece with a contemporary feeling, I tried varied sculptural forms and
shapes. The most appealing of these were some rather
slender abstract figures which seemed frozen in grace. In
tests of the figures in action, I discovered that thin,
hand-pressed shapes that were no thicker than an inch
I. Two thin [igures are pressed [rom clay and set aside
until the clay sti[[ens somewhat.
2. A base [or the ]igures is made by pressing clay around
a stick covered with scraps o[ newspaper.
3. Thick clay slip is used to weld the /cot o/ the /irst
[igure to the clay slab base.
4. Extra clay, added to give structural support and de[ine
the leer, is incorporated.
5. The second [igure is held upright and positioned with
the [irst [igure on the base.
6. Figures are welded together in at least two or three
places to give visual unity and structural support.
May-1967
19
i ~ii~¸~i!iiiiii~ii~,~!~i!~iii
7. When the group is completed and
the clay firm, the stick support is
removed and the open ends filled in.
8. The bisque fircd piece is brushed
with a textured cobalt and iron high
fire glaze (Cones 6-9).
developed no cracks or breakage as they dried or when
they were fired. The pressed figures were allowed to dry
just enough so that they could support their own weight,
then they were combined and assembled to make an
interesting sculptural group with the character I desired.
Steps in making the sculptural group, "The Sea
Gull Collectors," which are recorded here, illustrate the
careful planning and procedure timing that are so important when working by this method.
The base to support the figures is simply a clay slab
shaped over a stick. By working in this way, the base
will be hollow and less likely to warp in firing. The
ends can be plugged up later with small sections of clay.
Two rather flat figure shapes are pressed out, each
about 3/4-inch thick. Small areas, such as the heads,
may be as much as an inch thick, and these offer variety
in the shapes. These are set aside to stiffen until they
can support their own weight; if they are allowed to get
too dry, they cannot be welded to each other and to the
base.
The feet of the first figure are attached to the base
with heavy slip made from the same clay as the base
and figures. The points of contact must be solid and
strong; extra clay may be blended in here to give the
needed support and to suggest the feet and terrain.
Extra clay is added now. This may be arms, objects
20
Ceramics Monthly
9. Finished piece, "The Sea Gull
Collectors," has a richly textured
surface that enhances the form.
or any detail that was not made at the first sculpting. This clay should be added carefully, welded, and
smoothed over with a damp brush after it air dries. As
soon as the piece is completely dr)', it is bisque fired and
ready for glazing. At the time I made my pieces I was
going through a high-fire period. The glaze I used came
from a batch of notes I had collected while traveling
in England. I had visited a friend in the country near
Dorset who had built a walk-in kiln. He had been using
this glaze with interesting results when applied and fired
to Cones 6 - 9:
Feldspar (potash)
51%
Plastic Clay (kaolin)
25
Whiting
22
Flint
2
100%
He used a large amount of cobalt (about 8%) and 4%
iron. This resulted in a matt that was dark blue to black,
often breaking into a matt grey. Lesser amounts of cobalt
produce an interesting lighter mottled grey-blue with
broken pattern. Ceramists who do not fire this high can,
of course, fire at their own favorite range and also use
any glaze that seems to fit.
If form and glaze texture are allowed to dominate
in a sculptural group such as this, the light plays hideand-seek on it and produces an ever-changing form.
An Alphabet for Cloisonne
by KATHE BERL
IT Is DOUBTFUL that there is an enamelist who has not been confronted
with the problem of making a gift of
jewelry for a man. A limited field
this is, too--cuff-links and tie-clips,
or tie-clips and cuff-links, or perhaps
even a ring if the enamelist is an
expert jeweler. Now the situation is
not quite as precarious if the receiver
in question is a rather flamboyant
dresser. If the gentleman is the type
who wears conventional ties, though,
there is likely to be a problem! He
would refuse to wear anything that
looks like "arts and crafts" ever. So,
what we have to produce has to look
simple and elegant, not showy, but
as if it came from Tiffany's[ To show
that the piece is a personal gift made
especially for him, there is nothing
quite like initials. And there is no
better solution than executing the
piece in cloisonn&
Countless times we have been working on such tie clips and cuff links
with tiny lettering on them, and most
of the time there is a letter included
which has the very devil in it! A
straight little strip of cloisonne wire,
which is supposed to stand up during
firing, just will not stand up but topples over on its side and fuses that
way. Now this is a Problem with a
capital P. To relieve enamelists from
this "curse," here is an alphabet devised for this very purpose. I suppose
that every reader knows how to make
an unsoldered cloisonne, but still to
make double sure, here are some
words about the technique.
After the decision on design and
layout is made, a base of silver or
copper is enameled and fired, with
a bare space provided for soldering
on the finding (unless the piece is
to go into a setting). Cloisonn~ wire
is bent to shape, using flat nosed
pliers. A thin coat of enamel is applied over the already fired-in basic
coat, then the wire shapes are picked
up with tweezers, dipped into a gum
solution and finally set on the unfired
enamel coat. The piece is allowed to
dry out, then it is fired. Upon firing,
A B C D E F 6 N I j
.withThe
lower part is a staple-shape
the vertical ends spread and
"~
bent over F.N. (Flat Nose) pliers.
The upper part is an upside-down
V that is bent over something like
a dull knife. The reason for this is
[ ~ I ~ O P C ) I * ~
STUtJWXYZ
U
p[
~
[" ]
[~
?
[ ]
-if
T
H
that areas that are too sharply pointed are difficult to fill with enamel.
B This is made in two parts. The
upper c°rner is f°rmed with the R.N.
(Round Nose) pliers, as are the upper
and lower curves.
~-]"~ wire
c Only
°he part here, with the
formed into a curve over a rod
or section of dowel.
Alphabet for cloisonne work shows D This is a vertical line with the
how letters are cut apart to make two ends bent out to one side with
the F.N. pliers. The curve is shaped
the shaping easier.
over a dowel.
E The lower part is the staplethe wire will sink into the enamel shape; the upper part a right angle,
and fuse with it. In case the wires both formed with the F.N. pliers.
are sticking out of the enamel level F Two right angles are used for this
like a relief, apply some more enamel letter, formed with the F.N. pliers.
around it by hand, and retire. Repeat
The foregoing should furnish ideas
until the enamel stands slightly higher on the rest of the letters, but special
than the wires and then, with a fine mention should be made about those
carborundum stone, grind the piece problem letters, H, I, N and T.
until enamel and wires are perfectly
H This is a trouble-maker because
level. Wash and rinse thoroughly,
single flat wires tend to fall over
allow it to dry, then warm it up and
easily. Make this from three parts: a
refire until glossy again but not a
staple-shape for the bottom and two
moment longer !
lower-case l's. All are shaped with the
Wires that are too long have a
F.N. pliers. Also see the other solutendency to chip off, therefore the
tions in the diagram.
cloisonn~ should be made from sevI
This is another of the "bad" leteral pieces if the lines are too long.
ters.
Make it in one part, with the
The joined spots, if fitted together
short
ends bent out in opposite direcclosely, will vanish in the grinding.
tions.
And now to the alphabet! The letters in the diagram have the joining N This letter is made in two parts.
spots indicated to give a clear picture. One is a vertical with a hair-pin
On tile actual piece they have to be curve at the top; the other is a veras close together as possible. It is ad- tical that ends in a curve.
visable to make each letter in one T This can be made as a variation
piece and then cut it into two or of the letter I, with another section
more sections with fine, sharp scis- added. There also are some other
sors, as this sometimes makes shap- solutions shown on the bottom line
ing easier. All letters but I, N, H of the diagram.
and T work perfectly; H and T are
This alphabet is offered as a kind
the worst ones. Therefore we offer of "crutch" to help you until you
here a group of solutions for differ- learn your own tricks with letters that
ent letters :
will be much better than these.
.
May 1967
21
Spatter Decoration
With Wax
bv F. CARLTON BAI.L
~'~/'AX CAN BE APPLIED tO a glazed, unfired pot in many
unusual methods to produce very interesting decorations.
One of these techniques that is especially good for the
inexperienced decorator consists of spattering a design
with wax. This technique is not only easy; it is fun!
Decorating is done on a bisque pot that has been
coated with a light-colored glaze. The glaze should be
dry and hard but not vet fired. Wax emulsion (Ceremul
" % ' / is used for this dccoratin.~ method.
Spattering is done by selecting a large brush, loading
it with thick, undiluted wax emulsion, then "throwing"
the wax from the brush onto the pot. It is difficult to
describe this procedure, but it is easy to do and any
potter should be able to develop interesting patterns with
no trouble at all.
Because this technique can result in wax getting on
things other than the pot, it may be done out of doors
in good weather. If the first decorating attempts are
not satisfactory, the wax and glaze can be scraped and
washed from the pot surface so that a new start can be
made. If wax gets on the clay itself, it can be removed
by heating the pot in the kiln or an oven to about 300°F
in order to burn off the wax.
If decorating work is being done against a white
glaze and it is difficult to see just where the wax is, the
wax emulsion can be colored with ink. The ink burns
away in the firing.
Decorating is completed by placing the pot on the
wheel and centering it. then brushing on a coating of
oxide diluted with water. I would suggest mixing some
red iron oxide with water to make a very thin wash of
color. About one tablespoon of iron oxide to a cup of
water should make an adequate mixture. A large brush
is loaded with the wash and applied thinly and evenly
to the wax-coated surface as the pot revolves on the
wheel. The color soaks into the glaze wherever it is not
protected by the wax, and this produces a handsome
dark and light textured effect. The process can be repeated about three times in order to secure as even a
coating as possible. No matter how carefully it is applied,
the color will not give a uniform effect but it will be
much better than a slopp,v coating. I would caution
against getting a very heavy application of iron because
it may cause the glaze to run and even wrinkle; in addition, it will be black and ugly. If the coating is too thin,
there will not be enough color for contrast. As in almost
all ceramic work, it is necessary to experiment in order
to learn just how the best results can be obtained. As
soon as the glaze is dry and the piece can be handled,
it is carefully lifted from the wheel and placed in the
kiln for the final firing.
Red iron oxide is the best pigment to use with this
technique. It gives different colors when used with different glazes, and varies in effect when used in lighter
or heavier coatings on the same glaze.
Other colorants may be used instead of iron for the
wash over a wax-resist decoration, however. Cobalt oxide
or cobalt carbonate may be thinned with water and used,
but because cobalt is a very strong pigment, it nmst be
applied very thinly. If the glaze being used gives a beautiful blue when colored with cobalt, it will be good for
use with this technique. Generally, cobalt gives the best
color when used in high zinc glazes; avoid high magnesimn glazes because an unattractive mauve results.
It is possible to use some underglazes thinned with
water, too. I have gotten good results with thinned black
underglaze applied in a nmdium coating. It should not
be as heavy as iron nor should it be as light as a cobalt
application. I would strongly recommend that some tests
be made by painting various oxides and underglaze colors
on different base glazes and firing them for permanent
records of the results.
This article is based on material [tom tile
m'w CM Handbook by F. Carlton Ball,
"Decorating Pottery with Clay, Slip and Glaze"
22
Ceramics Atonthly
1. Wax is slmth r,d /~om a large b~ush ol~to a dry ulz/ir~d
glaze to obtain a part-acci dental, part-cont rolled decoration. W a x is colored with ink which will burn out.
2. Because o/ th, natu~, o/ the applicatio l~, it may bc
~4esirable to do this technique out o[ doors or in an area
that doesn't need to be cleaned.
3. T h e piece is c~ntcrcd o1~ tit, u'l, ~l aTld a thin mixture
of red iron oxide and water is brushed over the wax and
glaze. W a x e d areas resist the added colorant.
4. Finished piece alter [iriJ~g to (.ore lO ~(duetiolt . Bas,
glaze was a white waxy matt; the top wash over the wax
was red iron oxide thinned with water.
M a y 1967
23
JO LY ON HO FS TE D
An approach to clay
by LYNNE FRIEDMAN
TH~ CERAMIC CRAFTSMAN O[ today may appro ach
his
work with clay in one of severa l ways. The objec
t he
make s may be prima rily functi onal; or, becau se
of its
constr uction , it may have no specif ic functi on at
all. To
Jolyo n Hofst ed, a pot is a sculp ture and a painti ng.
His
prime conce rn is with form and how clay can
realiz e
his intent . His metho d of Work ing as he demo nstrat
es
to a class is best chara cteriz ed by the. words free
and
spont aneou s. Spont aneity , howev er, with a specif ic
intent
- - t h a t of transm itting into a ceram ic form all
those
qualit ies chara cteris tic of clay: fluidi ty, malle ability
and
streng th. "I strive in my work for three things : to
have
clay look like clay, a streng th of form, and a presen
ce
of volum e."
Evide nt in Hofst ed's work and teach ing is his belief
that in handb uildin g, rather than throw n ware, clay
most
closely exhib its its innate qualit ies. "Whe n you fold,
bend
or manip ulate clay, the clay crack s; these crack s
shoul d
be used, not hidde n. There is nothi ng sadde r
than a
handb uilt form that is sande d and smoo thed to
imitat e
a throw n pot." In handb uildin g, he believ es, one
is in
closer conta ct with the chara cter of clay as a
flexib le
yet powe rful mater ial; this chara cter is more diffic
ult
to achiev e in a throw n piece becau se one tends
to get
lost in symm etrica l form and the mech anics of throw
ing.
When worki ng or teach ing, Hofst ed emph asizes the
impor tance of worki ng on three or more pieces at
once.
"This way you don't tend to overw ork them. " Work
ing
on severa l pieces at once gives new ideas suffic ient
room
to move and chang e rather than all be focus ed upon
one
piece. The impor tant point he make s is that too
often
studen ts have an idea and want to use it witho ut
allow ing suffic ient time for the clay to stiffen ; they
usuall y
end up by losing the pot. If the stude nt has other
pieces
on which to work, he is more likely to halt work
on any
one piece and allow the clay to dry enoug h to suppo
rt
additi onal weigh t. "The advan tage of worki ng on
a few
pieces at once is that you work quick ly and move
from
one piece to anoth er."
The slab buildi ng proce ss illustr ated here is "a quick
,
direct appro ach. There are many ways of appro
achin g
slabs; the old way is to put the clay on burlap ,
so that
the clay will not stick to the surfac e, and roll it
out to
the thickn ess of two sticks place d on either side
of the
clay." Or you can bang clay into a rectan gle and
slice it
with a wire. "It doesn 't guara ntee equal thickn ess
but
it is a quick er and more direct metho d."
Next, the slabs are joined togeth er with a wood
en
mode ling tool. When all the slabs are joined to
make
the basic form, corne rs are pinch ed up to reinfo rce
the
joints . Then handl es are presse d into place. Final
work
is done by addin g the top sectio ns and trimm ing
away
excess clay.
] O L Y O N H O F S T E D teaches at the Brook lyn Muse
um
Art Schoo l, where he is head of the ceramics depar tment
,
and at Queen s College. He also has taugh t ceramics
at
the Hayst ack Moun tain Schoo l of Crafts in Maine
. His
work is repre sented in both privat e and public collec
tions
throu ghout the Unite d States and has been includ
ed
in nume rous major ceramics and craft exhib itions
. At
prese nt he is giving a series of works hop demon strati
ons
in various colleges across the Unite d States . His
book,
"Cera mics," is sched uled for release soon by Weste
rn
Publi cation s.
L Y N N E F R I E D M A N teache s art at Camp bell Junio
r
High Schoo l in New York. She curre ntly is worki
ng
towar d a master's degree at Queen s College. This article
was writte n from a demo nstrat ion and interv iew
given
by Mr. Hofst ed. Photo s are by Jim Dura.
i!
~,~.,~i
1. SIab~ may b, /,~m, d i, Ii,'. /~adition al mann er by rolling clay on
burla p betwe en two sticks.
24
Ceram ics Mont hly
2. A qui~/., ~ ,l~//, ,d ~on.d.,t.~ o] forming clay into a rectan gle and slicing
slabs o[[ with a wire.
3. 7h, 4ab~ are cut to size and
)oined or welde d togeth er with a
wood en model ing tool.
4. Additional slabs arc add~'d u~til tit,' basic ~ha]~c has
been arrived at.
5. Corners arc pinched together to rcinforce the joints,
then handles are presse,d into place.
6. Top slab is added altd :rimm, d, and handles are made
and attached.
7. Hoisted wants clay to look like clay, have a strength
o[ [orm, and a presence o[ volume.
M a y 1967
25
EXP ERI ME NTS
WIT H THE
PIN CH POT
by I{O(;ER ,\. (;OETTSCH
THE PINCHPOT is supposed ly one of the oldest potter}
forms; for many people learning pottel T methods, it is
still the first to be attelnpted . It seems only natural to
push the thulnbs into a ball of clay and begin pinching
the clay between the thumb and forefinge r.
As a high school art teacher, I have used the pinchpot as the first clay project. This proved to be a good
way of introduci ng the students to the feel, texture and
stretching quality of clay. The major drawback of the
pinchpot was the form that resulted. Most of the projects
were shallow bowls that were quite crude, especially
when compared to later wheel-thr own pots. The pinchpots were often left unclaime d on the shelves at the
end of the ceramic unit. Because of this, I felt that the
method would have to be explored and the pinchpot
would have to be refined in shape in order to make it
a more valuable project.
This idea led to experime nts with the pinchpot. I
found that the clay was stretched to open it between
the thumb and fingers of one hand and the thumb and
fingers of the other. When it became necessary to close
in the top of the pot, the opposite was true: the clay
was then forced together between the two sets of fingers
and thumbs.
If the clav could be forced together to finish the
rim of a regular pinchpot, it became apparent that a
flat piece of clay could be develope d into a pinchpot by
using this same process. The first few forms I made in
this way were very crude.
I next tried several different kinds of clay, with and
without grog, and found the best results came from a
ready mixed clay which contained Kentucky Ball Clay,
iron oxide, Barnard clay and grog. This body seemed to
form easily, yet the grog content allowed the clay to set
up quickly.
By cutting out two pieces of clay into oval or cir-
Although all o[ the pots pictured below were made [rom
the basic pinch pot, individual quality resulted from the
addition o[ .different bases, ncck~ and spouts.
26
Ceramics Monthly
1. Clos~'d flay / ~ m i, mad, /~om l;~,~ ~ul-i)ul routl(l (~t
o~,'al pieces o[ clay o[ the same shape and size.
2. 7"he slabs ar, .dml,.d by pushin g the clay togethe r
betwee n thumbs and [ore[ingers o[ each hand.
3. Ft"/l~'l~ t/i, two piree.~ are o[ thc same size, the rims
4. The two pieces are placcd rim-to- rim and joined. This
area is cross-h atched to knit the clay togethe r.
are trimme d or reu'ork ed to make them level.
iii
.
.
~'¸'~¸~''~'¸¸¸~!"~
i i~?,!iii~ii~!ii!!i
....
5. The hollow sphcrc is rotah'd ilz the hands to check
the joint and reline the shape.
6. A high ha,, i~ [orm,:d [rom a [lat piece o/ clay that
is wrappe d around the lingers until the edges meet.
May 1967
27
7. The two edges of the base are dampe ned with water,
then the clay is firmly knitted into place.
8. Base and st)here arc joined in the same manne r that
the two pinchp ots were assemb led.
9. Neck is added and the rim gic'~n a decora tive treatment. Cutout s were made in base to give a vertica l feeling.
28
Cerami cs Month ly
cular forms of the same size, I found that I could use
them .to make a basic closed shape. When I formed the
pieces, I used a pushin g techniq ue similar to that used
in closing the pinchp ot. This consist ed of pushin g the
clay togethe r betwee n the thumbs and forefin gers of each
hand, gradua lly turning the clay on its edge. The second
piece was formed the same way and, after several trial
fittings of the two pieces, it was possibl e to make the
top openin gs the same size. Someti mes it was necessa ry
to trim the two halves or rework the edges to make
them level. After a final trial fitting, water was brushe d
on the rims of the two halves and the pieces fitted
togethe r to make a closed sphere.
A modeli ng tool next was used to knit the two
pieces togethe r. Throug h the process of trial and error,
I found that this cross-h atching process was very important . The best method for checkin g on the joint was
to place the pot betwee n the hands and lightly pat it
while rotatin g the form slowly. At this time it also was
possibl e to shape the form into a sphere or oval shape.
Any defects in knittin g show up at this time, as the
pressur e of the patting tends to open the joint.
With the basic form comple te, it now was possibl e
to add legs, a base, spouts or anythin g else necessa ry for
the new shape. For the pot in the demon stration photographs, I added a base made from a flat piece of clay
that was wrappe d around nay fingers and knitted after
water was added to the joint. This base was added to
the bottom of the basic form, again using water and
knittin g firmly to join.
I chose a neck of a similar form to finish off the
top. This was made in the same manne r as the base and
ioined in the same way. By expand ing the top edge of
the neck, I was able to bend it out to finish off the
form of the pot. Since the clay had been rolled out on
a piece of burlap, the pot had an interes ting texture .
I used a wheel rib to texture the areas where the joints
were knitted , split the rim for a petal-li ke effect and
carved out certain areas on the base to create height.
I have used the idea of the refined pinchp ot to
make a numbe r of pots. While the basic form is made
in the same manne r, each pot takes on an individ ual
quality throug h the patting process or by the additio n
of differe nt bases, necks and spouts. By adding clay,
carving , texturi ng, or using brush designs , it is possibl e
to create an infinite variety of pots. For the potter without a wheel who wants to make rounde d forms, this way
is time saving and easy. Photos by ]ames Heising .
SEATTLE
COMMUNITY
STUDIO
,!i/!!i!:ii!~i~il,.
THE SEATTLECLAY CLUB'S dream of years was realize d
in Februa ry when it opened a huge studio as a commu nity facility for the advanc ement of the clay arts. With
a residen t potter- directo r in charge, the studio is equipp ed
for teachin g pottery making and for firing.
To launch the venture , the clay club formed a subsidiary organiz ation called Pottery Northw est, with its
own officers and board of directo rs. The 40 membe rs
of the 20-yea r-old clay club assessed themse lves $100
each to provide workin g capital for the project . Outsid e
aid came from craft groups , and a comnm nity organiz ation devote d to aiding the arts contrib uted $4,500.
City official s cooper ated by grantin g a two-ye ar lease
on space in a buildin g at Seattle Center , former ly the
city's World' s Fair ground s. They view it as a pilot
project which may not only serve its own ends, but
become a tourist attracti on. The studio embrac es more
than 6,000 square feet. There are three gas-fire d kilns,
one of 55-cub ic-foot -capaci ty for stonew are and two of
seven-c ubic-fo ot-capa city each for salt glaze and raku.
There are 20 wheels for use bv student s.
Presidi ng over the studio as directo r is the residen t
potter, Kenne th HendI3 , , who until recentl y had his own
studio at Long Grove, Illinois . He holds a master 's degree
in fine arts from Clarem ont College in Califor nia. Hendry is teachin g two 3-hour classes a week for beginners. Studen ts have the use of wheels in the afterno on
for a total of 18 hours of classro om and individ ual work
a week. The fee for a 12-wee k course at the studio is $75.
The cost of firing is placed at one-thi rd-of-a -cent per
cubic inch.
Althou gh PotteI3/ Northw est expects to hold at least
one studio sale a ),ear, the prime retail outlet will be
Northw est Crafts Center , also on the old fair ground s,
which will jury all work before offerin g it for sale.
Mrs. Kay Perine, in her second year as preside nt of
the Seattle Clay Club, spearh eaded the drive for the
studio. The hope is that it will become a center for
other arts and crafts. The club itself has grown from
18 membe rs to 40 within the last year. - - W . J . Granbe rg.
Directo r and r,.,id, ~j! ]J,lt~ ~- ,.1 .b',attl, ., ~, a ~ommun ity
studio is Kennet h Hendry , shown herc at work on the
re'heel.
Kay Pcrinc, prcsidc nt o/ the Scatth. Clay Club, con/ors
with student potter David Peters.
M a y 1967
29
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
recommended
books on
ceramics
MOSAIC TECHNIOUES
by Mary Lo- Stribllng
This unique book gives a
glimpse of the tremendous
potential of mosaics as a medium for personal expression,
and will stimulate the curiosity of beginner and professional craftsman alike. 465
how-to photos and examples.
$6.95
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
DESIGNS AND HOW
TO USE THEM
by Joan B. Priolo
Top-notcb 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
l
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 Wolchonek
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.
$2.50
WE PAY POSTAGE
30
Ceramics Monthly
CERAMIC GLAZES
by Cullen W. Parmelee
This i n v a l u a b l e
reference
book completely covers glaze
making. Includes formulas
and batch recipes for glazes.
314 pages of technical information.
$8.00
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
CERAMIC DESIGN
by John B. Kenny
Complete
instructions for
methods of forming and
decorating ware are given,
with step-by-step photos to
guide the designer along the
way. Contains appendix, list
of materials, tables, recipes,
and glossary.
$9.95
MAKING POTTERY
WITHOUT A WHEEL
by F. Carlton Ball
and Janice Lovoos
This comprehensive and richly illustrated book covers
every phase of hand-building
and decorating clay pieces.
No book has ever covered the
subject of texture and form
m~re effectively
$9.95
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
CERAMICS
by Glenn C. Nelson
A new, revised and enlarged
edition of a favorite title. An
outstanding handbook for potters and teachers. 331 pages,
hardcover.
$7.50
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 Carlton Ball
Thousands of sketches. $7.50
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
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.
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
$2.00
CERAMICS AND HOW
TO DECORATE THEM
by Joan B. Priole
Mrs. Priolo gives detailed descriptions and illustrations of
dozens of decorating techniques and shows exactly
how to go about using them.
Starts where other books
leave off.
$6.95
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. Ca~ramics at its best!
$7.50
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BOOK DEPARTMENT
Roflger--Clay Designs $4.9S
StrlblinglMosalc $6.95
Ford--Sculpture $5.50
Prlolo~Designs $6.95
Rhodes~Clay & Glazes $7.50
Encls~Design $1.85
UntrachtmEnameling $7.50
Wolchonok--Design $2.50
Parmele~Glazes $8.00
Sanders~Poftery $1.95
Ball & Lovoos--Potfery $9.95
m
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417s North High St.
Columbus, Ohio 43214
PLEASE SEND ME t i l l FOLLOWING lOOKS
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Nelson~eramlcs $7.50
KennylSCUlpture $9.95
Kenny--Pottery $7.50
Norton--Artlsf Potter $7.S0
Kenny--Deslgn $9.95
Ecjbert & Barnet--Brush $3.95
Rhodes--Stoneware$7.50
Kinney--Glass Craft $7.50
Rohrod--Sketchbook $7.50
Hornung--Designs $2.00
Priolo--Ceramics $6.95
NAME
ADDRESS
CITY
STATE
ZIP
I enclose [ ] Check [ ] Money Order (Ohio residents: 3% Soles Tax)
SUMMER
Summer Workshops give you that wonder[ul opportunity to combine vacation travel
with hobby [un. Whether you are tripping
east or west or only a little ways [rom
home, you'll find a workshop in ceramics
to give you that [resh inspiration. Our
list to date:
ALBERTA, BANFF
July 3-August 12
The Banff School of Fine Arts offers a
6-week ceramic course: fundamentals of
pottery, preparation of clay, ceramic
sculpture, glazing, etc. Instructor: Steve
Repa. Write: Banff School of Fine Arts,
Banff, Alberta, Canada.
B.C., VICTORIA
June, July, August
The Gilmar Pottery offers 1-week sessions in wheel work, slab building, glaze
making and copper enameling. Instructor: Margarete Nehl McLennan. Write:
Gilmar Pottery, 1700 Kings Rd., Victoria, B.C., Canada.
B.C., VICTORIA
July 3-28
The Osborne Pottery Studio is offering
l- to 4-week sessions in wheel-thrown
pottery, form and decoration. Instructor: L.F. Osborne. Write: Osborne
Pottery Studio, 5757 West Saanich Rd.,
R.R. 7, Victoria, B.C., Canada.
CALIFORNIA, GUERNEVILLE
June 26-August 25
Pond Farm Pottery offers nine weeks
of instruction in throwing, hand buildMaring and design. Instructor:
guerite Wildenhain. Write: M. Wildenhain, Pond Farm Pottery, Box 322,
Guerneville 95446.
CALIFORNIA, IDYLLWILD
June 25-August 4
The University of Southern California,
Idylhvild School of Music and the Arts,
offers a ceramic workshop of three 2week sessions in hand-building and
throwing, glazing, and firing. Second 2week session is for advanced work only.
Instructor: Susan Peterson. Write:
USC - - ISOMATA, Idyllwild 92349.
CALIFORNIA, Los ANGELES
June 26-August 5
The University of Southern California
offers 6-week courses in Fundamentals
of Ceramics, Ceramics II and III,
Architectural Ceramics, and Seminar in
Ceramic Production Problems. Instructor: F. Carlton Ball. Write: University
of Southern California, Department of
Fine Arts, Harris Hall, Los Angeles
90007.
CALIFORNIA, LOS ANGELES
May, June, July
Mary Sharp Enameling Workshop offers
30-day sessions in enameling on copper,
WORKSHO PS
silver and gold. Write: Mary Sharp,
6219 Alviso Ave., Los Angeles 90043.
CONNECTICUT, BROOKFIELD
July lO-September 1
Brookfield Craft Center offers the following ceramic workshops: July 3-8,
Priscilla Porter, fused glass; July 10-14,
Erik Erikson, stained glass; July 17-21,
Kathe Berl, enamels; August 1-3, Jarl
Hesselbarth, sand casting; August 7-18,
Jeff Schlanger, ceramics; August 21September 1, Henry Gernhardt, ceramics; and September 11-15, Henry Holt,
oriental throwing.
D. C., WASHINGTON
June 12-August 4
The Coreoran School of Art offers 8week summer sessions in beginning and
advanced ceramics. Instructors: to be
announced. Courses for Corcoran Art
Diploma Program or George Washington University Program. Write: Registrar, Corcoran School of Art, 17th St.
& New York Ave. N.W., Washington.
ILLINOIS, CARBONDALE
July 9-22
Southern Illinois University offers a
2-week Summer Art Workshop for talented high school students. The program
includes ceramics, sculpture, printmaking and drawing-painting. Instructor:
Michael Ferris. Requests for application
should be addressed to Director, Summer
Art Workshop. Southern Illinois University, Carbondale 62901.
ILLINOIS, CHICAGO
June 26-August 18
The School of the Art Institute of
Chicago offers beginning and advanced
ceramic workshops. Instructors: Mr.
Borch (beginning) and Viola Frey and
Peter Leyton (advanced). Write: John
R. Duncan, Chairman of Admissions,
The School of the Art Institute of
Chicago, Michigan Ave. at Adams St.,
Chicago 60603.
INDIANA, INDIANAPOLIS
June 12-August 25
Amaco Ceramic Workshops offer four
2-week sessions in ceramics and two 1week sessions in metal enameling at the
John Herron Art School. Instructors:
Justin M. Brady, William GeM, Ken
Smith and Carl Jensen. Write: American Art Clay Co., 4717 West 16th St.,
Indianapolis 46222.
KENTUCKY, LEXINGTON
June 12-August 14
University of Kentucky Summer Ceramic Workshop is open to beginning
and advanced students and consists of
two 4-week sessions in problems in clay
and glazes, handbuilding, throwing and
structural problems. Instructor: John
Tuska. Write: Mr. Tuska, Art Department, University of Kentucky, Lexington 40506.
MAINE, DEER ISLE
June 26-September 15
Haystack Mountain School of Crafts
offers four 3-week quarters in the stud).
of the elements and characteristics of
clay and glazes, shop instruction in
handhuilding, slab construction, and
throwing on the wheel. Instructors:
Warren MacKenzie, Bob Arneson, Fred
Bauer and William Wyman. Write:
Haystack Mountain School of Crafts,
Deer Isle 04627.
M~SSACH US ETTS, ~rORCESTER
July 10-28
The Worcester Craft Center offers 1- to
3-week summer sessions in ceramics and
enameling. Instructors: Gerry Williams
(ceramics) and Donald Andrick (enamel). Write: Worcester Craft Center,
Dept. CM. 25 Sagamore Rd., Worcester
01605.
MICHIGAN, MOUNT PLEASANT
June 19-August 1l
Central Michigan University Art Department offers a regular 6-week term
(June 19-July 28) and Post Session I
(July 31-August 11). Beginning and
advanced ceramics each session. Instructor: Mrs. Esther Kraus. Write:
Victor P. Croftchik, Chairman, Art Department, Central Michigan University,
Mount Pleasant 48858.
NEW HAMPSHIRE, DURHAM
June 26-August 4
Paul Creative Arts Center, University
of New Hampshire, offers a 6-week
session in ceramics conducted by
Charles Chamberlin. Instruction ineludes wheel, coil and slab. Write:
Office of Registrar, Summer Session
1967, Thompson Hall, University of
New Hampshire, Durham 03824.
NEW HAMPSHIRE, PETERBOROUOH
July 3-August 29
The Sharon Arts Center offers an eightweek workshop in ceramics. Instructors:
Julia Shaw and Gerry Williams. Write:
Sharon Arts Center, RFD # 2 , Peterborough 03458.
NEw MExico, RUIDOSO
July 17-September 2
Carrizo Lodge offers a 2-week course
in copper enameling (July 28-August
2). Instructor: Dr. Emilio Caballero.
Also offered (July 17-28) is a course
in jewelry and metal, under Dr. Marion
Galvan. Write: Mrs. Pauline Greggerson, Carrizo Lodge, Drawer A, Ruidoso
88345.
NEW YORK, ALFRED
July 3-August 1l
Alfred University offers 6-week terms
in ceramic design and pottery production at four different levels. Instructors:
Daniel Rhodes, Wallace Higgins and
William Parry. Write: Fred H. Gertz,
Summer Sessions, Alfred University,
Box 805, Alfred 14802.
Continued on Page 32
M a y 1967
31
ITFS BERGEN
FOR • LigMer s
SUMMER
• Lamp Parts
NEw YORK, CHAUTAUQUA
July 3-August 18
Chautauqu a Institution Summer School
is offering I- to 8-week courses in
ceramics and ceramic sculpture. Instructors: James T. Achuff and H. Richard
Duhme, Jr. Write: Joseph C. Clarke,
Chautauqu a Institution , Chautauqu a.
• Rhines tones
• Music Boxes
• Crushe d Glass
• Jewelry Finding s
NEW YORK, CLAYTON
June 26-August 26
• Porcela in Flowers
• Tools, Stilts, Brushe s
• Copper Enamel ing
(America's largest selection of
shapes, enamels, trivets, etc.)
The Thousand Islands Museum at Clayton announces summer workshops in
ceramics and enamel. Instructors : Orsini (enamel), Vally Possony (ceramics)
and Jean Holt. For informatio n, write:
Emily Post, Director, 90 Westcott Rd.,
Princeton. New Jersey 08540.
NEw YORK. NEW PALTZ
BERGEN
ARTS
& CRAFTS,
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Box 689 CM, Salem, Mass. 01971
Rush complete catalocj with crushed cjlass
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NEW YORK, WroTE PLAINS
June 26-August 5
Westchest er Art Workshop is offering
6-week classes in beginning and advanced ceramics and enameling . Instructors : Estelle Halper, W a I t e r
Yovaish, Constance Kimble and Mildred Downey. Write: John Ruddley,
Director, Westchest er Workshop , County Center, White Plains 10606.
May 29-September 22
Penland School of Crafts offers seven
sessions of 2 and 3 weeks in ceramics,
metal, jewelry, enameling , glass, sculpture and other crafts. Faculty to be
announced . Write: Registrar, Penland
School of Crafts, Penland 28765.
& COMPANY
ONTARIO~ ORANGEVILLE
60 Oakdale Road, Chester, N. J. 07930
July 9-August 4
J
Ceramics Monthly
The School for American Craftsmen ,
Rochester Institute of Technolog y, offers a 6-week summer course in ceramics for both graduate and undergrad uate credit. Instructors : Frans Wildenhain and James Secrest, visiting lecturer. Write: Director of the Summer
Session, Rochester Institute of Technology, 65 Plymouth Ave. South, Rochester 14608.
NORTH CAROLINA~PENLAND
The easy to use, SAFE replacement }or dangerous sulfuric acid.
Use SPAREX No. I for cleaning
iron and steel. Use SPAREX No.
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Order from your supplier
OUIMBY
Craft Students League, West Side
Branch YWCA, offers 8-week workshops
in ceramics and sculpture. Instructors :
Roberta Leber and Gertrud Englander .
Write: Helen T. Warner, Director,
Craft Students League, 840 Eighth
Ave.. New York, 10019.
June 26-August 4
WRITE FOR FREE BROCHUR E
32
State University College offers 10-week
sessions in beginning and advanced ceramics at the New Paltz campus. Instructor: Kenneth Green. Write: Summer Session, State University College,
New Pahz 12561.
]une 5-August 1
State
Europe's Finest
825 W.
June 26-September 1
NEW YORK, NEW YORK
City
WORKSHOPS
Continued [rum Page 31
Hockley Valley School offers 1- to 4-
week terms in ceramics, combined materials and sculpture. I n s t r u c t o r s :
Arthur Handy and Robert Hedrick.
Write: Hockley Valley School, Toronto
office, 602A Markham St., Toronto,
Ontario, Canada.
OREGON, CORVALLIS
June, July, August
"Experime nt A Program" workshops at
Corvallis and Bend, Oregon; McCall,
Idaho; and Jerome, Arizona consist of
one-week field trips of situation encounters with primitive ceramics. Instructors: Hal Riegger and Bob Winston
(metals). Write: Hal Riegger Workshops, 469 Panoramic Hwy., Mill Valley, Calif. 94941.
QUEBEC, NORTH HATLEY
June 26-August 26
"The Pottery" offers three 3-week sessions in pottery. Instructors : Dean
Mullavey, Gaetan Beaudin, and others
to be announced . Write: The Pottery,
Box 181, North Hatley, P.Q., Canada.
QUEBEC, ST. Pm DE BAOOT
July 1-September 4
Le Vieux Moulin Art Center offers all
phases of ceramics, including turning,
glazing and firing. Instructors : Leon
Plumteux. Eric Wesselow and Marianne
Suda, For informatio n, wrlte: Mr.
Homer Dufresne, Le Vieux Moulin Art
Center, St. Pie de Bagot, Quebec, Canada.
QUEBEC, WAY'S MILLS
June 26-September 2
The Rozynska Pottery offers five 2-week
sessions in ceramics, including individual
instruction in hand building, throwing,
glazing, decorating , kiln stacking and
firing. Instructors : Wanda Rozynska
and guest teacher Graeme Storm, from
New Zealand. Write: Rozynska Pottery,
Way's Mills, Quebec, Canada.
TENNESSEE, GATLINBURG
June 12-July 21
Craft Workshop in the Smokies offers
full and half sessions in beginning and
advanced ceramics and enameling , and
a short session (July 17-21) in advanced
enameling . Instructors : Ann Van Aken
(ceramics) and Helen Worrall (enamel). Write: Craft Workshop, Gatlinburg .
UTAH, SALT LAKE CITY
June 26-July 2l
The University of Utah offers 4-week
summer sessions in ceramics, and metal
design and enameling . Instructor :
Angelo Caravaglia . Write: Departmen t
of Art, Building 441, University of
Utah, Salt Lake City 84112.
VERMONT, LUDLOW
July 3-August 25
Fletcher Farm Craft School offers four
2-week sessions in ceramics, enameling
and other crafts. Instructors : David
Continued on Page 38
CERAMACTIVITIES
people, places and things
GUEST TEACHER ANNOUNCED
The Rozynska
Pottery,
Way's Mills.
Quebec, has announced that New Zealand potter Graeme Storm (pictured) will
l~e the ~m'st teacher f,,r the summer work-
CERAMIC NATIONAL TOUR
Selections from the 24th Ceramic National will be exhibited May 2 7 - J u n e 18
in the Lounge of the International Min-
erals and Chemical Corporation's Administrative Center in Skokie, Illinois. The
Ceramic National, a biennial event, was
held at the Everson Museum of Art, Syracuse, N.Y. From the 342 pieces in the
Syracuse showing, 85 were selected for the
two-year tour of museums and galleries in
the United States.
OF SEATTLE
CERAMICS BY HUI KA KWONG
shop sessions. A native uf New Zealand.
Mr. Storm studied at the Auckland and
Dunedin Teachers College, then worked
as an arts and crafts specialist for the Education Department for two years. In
1959-60 he traveled extensively in the
United Kingdom and Europe, studying
pottery in Spain, Scandinavia, Finland,
and at the London Central School of Arts
and Crafts. He taught art in London and
Montreal, then returned home via Japan.
In 1962 Graeme Storm returned to England to work at the Kenneth Clark Potter),
and the Briglin Potteries. In 1963 he worked with the Rozynskis at their StudioGallery. The potter has had many exhibitions of his work in New Zealand and
abroad and his pottery is in public and
private collections in Faenza (Italy), Australia, New Zealand, Canada, England,
Finland and the United States.
The Museum of Contemporary Crafts is
showing ceramics by Hui Ka Ku,ong in
the second floor gallery through May 14.
The artist was born in Hong Kong and
came to California in 1948 to study ceramics with Marguerite Wildenhain. In
1949 he moved to the East Coast and
studied at Alfred Unicersity. He presently
is teaching at the Greenwich House Pottery in New York and at Douglas College
of Rutgers University. He was awarded
a Tiffany Fellowship to Spain in 1962-63.
According to the Museum, the ceramic
forms presented in this exhibition are a
vast departure from the works previously
shown by Hui Ka Kwong. Last year he
assisted the painter Roy Lichtenstein in
ANNUAL AWARDS EXHIBITION
The Artist-Craftsmen Annual Awards
Exhibition will be held at the National Design Center in New York from May 9 June 15. Theme of the show is "The
Craftsman in the Business Environment."
Jurors who will select the show include
Lawrence G. Copeland, silversmith and
designer; lacob Albertson, ceramist and
sculptor; Manolo Pascual, sculptor; and
Christian Rohl[ing, curator of the Cooper
Union Museum. Purpose of the exhibition
is to point the way to greater participation
by the craftsman in beautifying the business environment.
A Good Kiln
Expensive
~
ART FAIR ANNOUNCED
The annual Talbot Street Art Fair is
being held in Indianapolis on May 13-14.
This is the twelfth year for this event
which is sponsored by Indiana ArtistCraftsmen and open to residents of the
state. Talbot Street is located between
14th and 15th Streets. Information is
available by writing to: Sally GaUaway,
251 East 47th St., Indianapolis, Ind.
46205.
NOW!
~
a technical capacity in developing his
limited editions of ceramic tableware.
Since that time his own work has very
noticeably gone through a transformation
as a result of this association. Contrasted
to the more complex sculptural forms and
simple brushwork of his earlier work, his
present forms have been simplified while
his decoration has taken on a hard edge
stylization (see photo). Mr. Kwong prides
himself on the fact that he is still a
potter in the traditional sense of working
with the container form and feels the possibilities presented to the potter working
with simple geometric decoration are limitless.
SLIDE-LECTURE OFFERED
Robert B. Engle, pottery instructor at
Ohio Wesleyan University, Delaware,
Ohio, has returned to this country after
an extensive seven months of travel and
Save up to 3 7 0 using a few
pleasant hours to fit together
one of our easy-to-assem ble
kiln kits. Fun to do ~ efficient
to use. Step by step instructions for assembly and easy
beautiful firing.
These Are Kilns Made By
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Commercial Kiln Kit,
24"x24"x27" deep . . . . . . $195.00
Studio Kiln Kit,
18"x18"xl 8" deep . . . . . .
99.50
Hobby Kiln Kit,
12"x12"x131/2" deep . . . .
62.50
Send for free detail sheets.
POTTERY by DOT
Dept. CM
408 N.E. 72nd St.
Seattle, Wash. 98115
Continued on Page 34
M a y 1967
33
M F G . OF S C U L P T U R E
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Stained Glass Supplies
C a t h e d r a l Glass ~t Lead Cames
Copper Foil ~ Tools ~ Jewels
W r i t e f o r F R E E Price List.
WHITTEMORE-DURGIN
GLASS
1965 revision Catalog of 6000 molds
from 45 companies. . . . . . . . . . $1.25
CERAMACTIVITIES
New Mold Supplement only . . . . . . 50c
Continued from Page 33
(to bring 196S catalog up-ta.data)
study in Japan. His main interests centered around folk art pottery and traditional tea ceremony utensils and their
producing potteries. Mr. Engle writes:
"January and February were spent in
Koishiwara ('discovered' in the early 30's
by Yanagi and Leach). Koishiwara ware
is hardly distinguishable from Onda ware
yet is produced in this remote mountain
village on Kyushu almost completely cut
off from the p(~pularizing trends whicL
have adversely affected the Onda kilns
production. Two months were spent in
Karatsu, a city of 80,000, working in the
traditional tea ceremony style of the area.
Side trips were taken as far south as
Kagoshima and the Satsuma ceramic kiln
area, with visits to the Neishirogawa and
Ryumonjl kiln sites. With another Japanese potter I took a ten day motorcycle
trip across Kyushu and Shikoku islands,
staying at Buddhist temples and visiting
remote pottery villages in the mountains
whose products or style are well known
to the ceramic consumer of Japan: Tobe
yaki, takatori yaM, Satsuma Bizen, to
name but a few. A month was spent
with Akahada yaki style outside Nara and
my final month in Dachi Machi north of
Nagoya, working with Shino tradition,
completed my work."
Mr. Engle is eager to share his experiences with civic groups, high school
groups, or ceramic craftsmen in Ohio who
might like to see his color slides and hear
his talk. Interested groups may contact
Mr. Engle by writing to hhn at Ohio
Wesleyan University, Delaware, Ohio
43015.
large Supply Catalog. . . . . . . . .
$1.50
(Refundable on SIS Order)
"DD'S & Don'ts of Ceramics"...$1.50
Midwest Ceramic Center
722 Southwest Blvd. Kansas City, Mo. 641011
the
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34 Ceramics Monthly
An invitational craft show will be held
in conjunction with the South Central
Regional Conference of Cra/tsmen at the
Museum of Art, University of Oklahoma,
Norman. The conference will be held
June 9-11; the exhibition will continue
through June 29.
Workshops will be conducted at the
conference by Kenneth Ferguson, Kansas
City Art Institute, on salt glazing and
wood firing; Patricia Esch, Arvada, Colorado, on free-blown glass; and Rama
IVebb, Wichita Art Association School, on
enameling on sterling and cast objects. Information may be obtained by writing:
School and Community Service, 1700 Asp
Ave., Norman. Oklahoma 73069.
OUTDOOR ARTFAIR PLANNED
The Fifth Annual Outdoor Art~air,
presented by Friends of the Sierra Madre
Library, Sierra Madre Memorial Park,
California, will be held on May 20-21.
There will be demonstrations and exhibitions of work by foothill area artists and
craftsmen. Demonstrations in ceramics will
include raku firing, wheel throwing, slab
technique, and mosaics.
The Artfair affords an opportunity to
..
Continued on Page 35
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MAY SPECIAL Post Paid in U.S.A.
.............. $ 7 . 5 0
3 POUNDS
.............. $ 1 2 . O O
S POUNDS
........... $ 2 0 . 0 0
tO POUNDS
SIZES:
(SIZES
3/8"x7";
5/8"x7";
MAY
5/8"x5"
5/8"x8-1/2"
BE ASSORTED)
CERAMACTIVITIES
Continued ]rom Page 34
the many artists who live in Sierra Madre
to present their work for exhibition and
sale. Each year out-of-town artists are
invited to participate also. Proceeds are
held in a special building fund for a community room to be added to the Sierra
Madre Library: this will be used for lectures, films, exhibits, and many other
events. According to Mar), Bromm, publicity chairman, "Each year the Artfair
has grown in size, attendance, sales and
the quality of work exhibited. It is gratifying to the committee and the community to see that the Artfair is considered
an event of special interest in Southern
California and is attracting artists in various parts of California who express an
interest in exhibiting."
rations may be obtained in advance, along
with a teaching schedule of all courses, by
writing to the Eastern Ceramic Show,
Convention Hall, Asbury Park, New Jersey. The faculty, composed of many
nationally-known teachers of varied techniques, will c(msist of Ardis Carlin, Dor-
niques,'" morning demonstrations held on
each day of the show. The National
Amateur Hobbyist Competitive Exhibit is
in charge of Grace Carini. Information
and entry forms may be obtained by
writing to her at 8 Drake Lane, Upper
Saddle River, N.J.
Playing a major role in the educational
program will be the Pre-Registered Classes, to be held during morning and afternoon sessions. Although advance registration is not necessary for the student to
attend, an early request for a class reservation will assure a seat under the guidance of any desired teacher. Class reser-
othy Harper, Kay Heal)', Hazel Hutchins,
Herman J. Kleiner, lake Lucas, Irz'ing
Leonard, Eleanor Robinson. Al Schoellko[[, Dorothy Campbell, Robert I. Emory,
Loretta DeFillipio, Robert ]a)'roe, Bea
Mathews, Sue Ben, Doris Taylor and
Lucille Henderson.
Continued on Page 36
SYRACUSE REGIONAL
The 15th Syracuse Regional Art Exhibition opened to the public on March
amic HobbyShow
4 and continued through April 16 at the
E~'erson Museum. The show, open to artists and craftsmen living within 100 miles
of Syracuse, included crafts, painting,
graphics and sculpture. The entire exhibition contained 114 pieces in all fields.
May 18th-21st, 1967
NVENTION HALL,ASBURY PARK, N. J.
Dedicated to the Advance of the
OaqF
Sixteen ceramic and enamel p~eces were
accepted for the showing by the juror,
James H. Elliott. Janet Matthews of Syracuse received the Syracuse Ceramic Guild
Prize for her rounded ceramic vase with
poured glaze decoration (pictured). Max
Sullivan, director of the Everson Museum,
awarded the prizes on March 3 at a
preview.
Buyers Cards to be honored at the Eastem
Chicago, and Southeastern States 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 d a i l y . . .
free admission.
CLASSES
EASTERN CERAMIC SHOW.OF 1967
ASBURY PARK, N. J.
NATIONAL CERAMIC AMATEUR EXHIBIT
GRACE CARINI
8 DRAKE LANE
UPPER SADDLE RIVER, N. J.
Please send teaching schedule for ProRegistered Classes to be conducted at
the 1967 Eastern Ceramic Hobby S h o w . . .
I wish to make a reservation.
Please send ........................ Entry Forms.
I plan to exhibit in the.
(check)
National Amateur Exhibit
(check)
Professional Exhibit
SPECIAL
CONVENTION
HALL
. . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . .
ANNIVERSARY SHOW ANNOUNCED
The Fifteenth Anniversary of the Eastern Ceramic Hobby Show will be held
May 18-21 in Asbury Park's oceanfront
Convention Hall. According to Jerry
Gasque, director of the show, this will
be the most comprehensive showing of
the newest products, materials and equipment produced by the ceramic hobby industry, with new developments in the
production of many items promised by
numerous manufacturers. Irene Rushmer
is chairman of the "Pageant of Tech-
NAME
....................................................... ................
( P L K A I K PRINT)
STREET
....................................................... ............
C I T Y & S T A T E .......................................................
CUT
ON
NAME
........................................................ ...............
( r l . I [ A I I [ PRINT)
STREET
........................................................ ...........
C I T Y & S T A T E .......................................................
DOTTED
LINE
~IIa)' 1967
35
SCULPTORS - POTTERS - CERAMISTS
ATTENTION!
CERAMIC
CLAYS
CERAMACTIVITIES
KEHPER TOOLS
Choose from Kemioer's complete
lines of American made tools for
Sculptors. Potters and Ceram;sts.
• All-Wood Tools
• Wood and Wire Tools
• Double Wire-End Tools
Available in 6", 8" and 10" sizes.
Made out of select imported South
American and African Hardwoods.
Complete
tools.
line of ceramic hobby
Write for complete Kernper Catalog
enclosing 25c (coin or stamps) for
postage and handling. Please include your Zip Cocle Number with
address.
Mr. and Mrs. Stanley Robinson have
announced the opening of their art center, "Art Fair," at 1003 West McGee
Street in Greensboro, N.C. Featured are
ceramics, photography and an art gallery.
Mrs. Robinson is a portrait photographer;
Mr. Robinson is instructing in ceramics.
The couple resided in West Nyaek, N.Y.
prior to moving to Greensboro.
Amaco Summer Workshops, conducted
cooperatively by the Herron School o[
Art and the American Art Clay Company,
will be held in Indianapolis from June 12August 25. This will be the 18th year
that workshops in ceramics and metal
enameling have been offered for teachers
and , ,co u!)ati, .z~M t }~mapist s. I,ecturer-
RFD. # 2
Dept. A
Crestline, Ohio 44827
Please Mention C M
when writing our advertisers
The midwest's largest warehouse of
ceramic and artist materials:
CENTRAL CERAMIC ART SUPPLY CO.
29W SSS Batavia Rd., Warrenville, III. 60SSS
Tues.-Sat. 9 a.m.-S p.m.;
Tues. & Thurs. 7-9 p.m.
...for
school
and
studio!
USe¢I+
36
ctfl~rt and
Ceramics M o n t h l y
NOPE? We didn't reise our mold prices
in our new catalog lust released. Send S0c
for catalog. Schools are sent catalogs
free upon request.
GARE CERAMIC SUPPLY CO., INC.
165 Rosemont St., Haverhill, Mass. 01830
Soldbyonly
P. DAWSON
1100 "H" Bast Ask
Fullerton, Calif. 92631
JEAN LEONARD CERAMICS
96.24 Corona Ave.
Corona, L. I., N. Y.
MAGIC GREENWARE RELEASE (8 oz.)..$1.SO
Save yourself aggravation. Releases greenware in half the time, will not stick.
KILN SURFACE BRICK HARDENER
(16 oz.) . . . . . . . . . . . . . . . . . . . . . . . . . . .
$2.00
Will harden and prolong life of your kiln.
i Stops kiln brick from shedding and flaking.
demonstrator x~ill l)t* Ju,tin lhady (i)ictured), known to many through past
summer and traveling workshops. Carl G.
]ensen, a professional potter and teacher,
joins Amaco's staff of ceramic engineers
and teachers this summer. Four 2-week
ceramic workshops and two 1-week metal
enameling workshops are offered, with
graduate and undergraduate credit. Specific information is available by writing
to the Ceramic Division, American Art
Clay Co., 4717 West 16th St., Indianapolis, Ind. 46222.
WORKSHOPmEXPO67 COMBINATION
Craftsmen attending summer workshops
in Quebec this summer may easily take
advantage of the many cultural events offered by Expo 67 at Montreal. Stanley
Rozynski, of the Rozynska Pottery at
Way's Mills, reports that Montreal is just
1~2 hours travel time from the school.
The Potter),, at North Hatley, is about
the same distance from Montreal and
Expo 67.
K~NGSP|N~I~ [4 i ; [ e ] q k d : ~
d i l l :lZii iEl :1 li =l
MODEL T 12 $6.95
A 12-inch wheel For the price of an 8inch. Made of KINOLITE-iatelt ~nktop
used in newest homes. Heavy Kirml[oy
sL Jus~the tt~ng to uJe on those lace
YOgi DEALEIIOI DISTII|UTQR--OImlT~
MOUR CAMPBELL
ld258 MAIDEN
DETROIT 13, MICHIGAN
KILNS
• . . the most complete line!
The only kilns with patented DYNA-GLOW
element holders.
Write for information.
L and L MANUFACTURING CO., Box 348
144 Conohester Rd., Twin Oaks, Pa. 19104
VIENNESE ENAMELS
SCHAUER & CO.
Vienna, Austria
ASSOCIATION SHOW iN PORTLAND
~ Mill mix
e drudgery
r creative
in~trucfinn.
9016 DIPLOMACY ROW • DALLAS, TEXAS 75235
MElrose 1-0540
I W.
KLOPFENSTEIN
H. B. KLOPFENSTEIN & SONS
SUPPLY,INC.
Authorized
Dealers
The Famous
WHEEL
"Crinitf/CE.MIC
r J ~
P. O. Box 545, Dept. CM-S
Chino, Calif. 91710
Write for FREE Information
GLAZE
MATERIALS
WORKSHOP FOR TEACHERS
Kemper Manufacturing Co.
POTTER'S
and
Continued from Page 35
ART CENTER OPENS IN GREENSBORO
The Association o[ San Francisco Potters will have a major show in June at
the Contemporary Crafts Association in
Portland, Oregon. Work in pottery, glass
and sculpture will be exhibited in two
large galleries that open onto a deck.
Richard Moquin is the chairman in charge
of this event.
Founded in 1874
LOOKING FOR NEW COLORS,
HIGH QUALITY & UNIFORMITY?
Try these renowned enamels for gold, silver
and copper from our large stock.
NORBERT L. COCHRAN
2540 SO. FLETCHER AVE.
FERNANDINA BEACH, FLA. 32034
Exclusive Distributor In The U.S.A.
THE CERAMIC-MASTER
PROFESSIONAL POTTER'S WHEEL
now available
ITINERARY
Continued from Page 11
NEW JERSEY, NEWARK
$250
• Laguna Beach
through mid-August "Hour Glasses and
Art Nouveau," at the Newark Museum.
• Speed infinitely variable to 16S rpm
with maximum torque
• Heavy steel construction
• Lowest priced professional wheel
Ceramic
NEW ~I'ORK. CORNING
May 25-28 Fourth Annual Southern
Tier Arts and Crafts Show and Sale; at
the Corning (;lass Center.
Master Company
2185.A Broadway. Laguna Beach, Calif.
TOOLS FOR THE POTTER
Bamboo Teapot Handles • Potter's Shrinkage
Ruler , Potter's BalI-WalI-Stlck • Potter's Spongeon-Stick • Potter's Trim*a-Foot Stick
KILNS - C L A Y S - G L A Z E S - T O O L S
MINNESOTA CLAY COMPANY
2410 E. 38th St.
Minneapolis, Minn.
NEW YORK~ DOUGLASTON
May 14-27 The 37th Annual Spring
Exhibition of the Art League of Long
Island, 44-21 Douglaston Parkway.
N E w YORK, NEW YORK
through May 12 Exhibition of Religious
Arts and Crafts by members of ArtistCraftsmen of New York; at Interchurch
Center, 475 Riverside Drive.
our N E W
C A T A L O G #8
This new 64-page catalog lists
everything you n e e d - - a complete line of kilns, glazes, tools
plus g e n e r a l
supplies and
equipment, with many new
items added. Hobbyists, teachers and studio potters will
find the catalog invaluable.
You'll want a copy of this all
new catalog at hand the very
next time you need ceramic,
mosaic or m e t a l enameling
supplies for your home, studio
or school. Send for your copy
now!
N E w YORK, NEW YORK
through May 14 Ceramics by Hui Ka
Kwong: at the Museum of Contemporary
Crafts.
NEW YORK, .'N'EW YORK
May 9-June 15 Annual Awards Exhibtien of the New York Artist-Craftsmen
shows work in ceramics, jewelry, enameling and glass; at the National Design
Center.
i basis.
WRITE
to:
Circulation
Dept. !
L
Ceramics Monthly
4 1 7 $ N. H i g h S t . . Colnmbus, O h i o
.... l_t
"'
I
_
ANDERSON CERAMICS COMPANY, INC.
1950 S. McDuffie St.
Anderson, South Carolina
Complete Ceramic Supplies
The I n t e r m o u n f a i n A r e a ' s L a r g e s t
C e r a m i c Supply C e n t e r
Special attention to the needs
of schools and institutions
Capital Ceramics, Dept. CM
2174 S. Main St., Salt Lake City, Utah 84115
For the
T I F F A N Y TOUCH
our N e w
"'GLA SS-L UCENTS"
12 colors including white - - Send
stamped self-addressed envelope for
description and prices.
Catalog: $1 postpaid within U.S.A.
(Canada add $1)
KAY KINNEY - - CONTOURED GLASS
725 Broadway, Laguna Beach. Calif. 92651
NEW ~IrORK; NEW YORK
through May 3 Spring Show of pottery and sculpture by Blanche Hell, Ann
Lawrence, Liliane Loeffel, Trudy Mueller,
and Dimitry Varley; at Greenwich House
Pottery.
NEW YORK, NEW YORK
Continuing
"The Enduring Art of
China," an exhibition of 150 works that
include ceramics, sculpture and frescoes.
At the Metropolitan Museum of Art.
Send 50c f o r N e w C a t a l o g
#8
TEACHERS NOTE: This new catalog is
sent FREE to schools, institutions and
craft shops.
Van Howe
Ceramic
Supply
1185 S. CHEROKEE, DENVER 23, COLO.
TEACHERS - DEALERS - DISTRIBUTORS
You're all invited to the
CHICAGO TRADE SHOW
JULY 20-21-22, 1967
Complete information available from:
NCMA, P.O. Box 381, Ridgewood, N.J. 07451
OHIO, ADA
through May 6
The 24th Ceramic
National Circuit Exhibition, at Northern
Art Center, Ohio Northern University.
OHIO, AKRON
through May 14
Ceramics by Luke
Lietzke, at the Akron Art Institute.
OHIO, CLEVELAND
May J-June 18 The 49th Annual May
Show of work by artists and craftsmen of
Ohio's Western Reserve: at the Cleveland
Museum of Art.
OHIO, TOLEDO
May 7-28 The 49th Annual Exhibition
of Art by the Toledo Area Artists; at the
Toledo Museum of Art.
ONTARIO. TORONTO
May 5-31 One-man exhibition of pottery by David Long; at the Canadian
Guild of Potters. 100 Avenue Road.
PENNSYLVANIA, ALLENTO~NN
May 27-June 18 "Ceramic Arts, U.S.A.,
1966," circulated by the Smithsonian Institution Traveling Exhibition Service; at
the Allentown Art Museum.
Continued on Page 38
14th ANNUAL
York State Craft Fair
July 31 through August 5, 1967
Ithaca College, Ithaca, N.Y.
DEMONSTRATIONS * EXHIBITS ° SALES
THE THOUSAND ISLANDS MUSEUM
at CLAYTON, NEW YORK announces
SUMMER WORKSHOPS in Ceramics, Early American Decoration, Enameling (Orsini). Painting,
Pottery {Vally Possony), Reverse painting on
Glass, Rug-hooking and Weaving. For ntormation write to: Emily Post, Director. 90 Westcott
Road, Princeton New Jersey 08540. After June
1, C ayton, N. Y. 13624.
CERAMIST
WANTED
I
Enoy traveling in many states? Earn salaryE
plus car and expenses. Give lecture-demon-II
strafions in schools for 9 months; teach in E
Indianapolis summer months. State educe- II
tion teaching experience. References.
II
AMERICAN ART CLAY CO. INC.
II
INDIANAPOLIS, IND. 46222
I
May 1967 37
T,.[
Advertisers Index
May 1967
School Art Institute of Chicago
of the
announces the
SUMMER
ITINERARY
SESSION
CERAMICS-WORKSHOP
June 26 - August 18
(Registration: June 19 thru 23)
If
~IL
Faculty: Viola Frey
PeterLayton
Borch
Albert
Accreditad by: National Assoc. of
Schools of Art; North Central Assoc. of
Co[leges and Secondary Schools
Continued [rom Page 37
PENNSYLVANIA, PHILADELPHIA
through May 7 " R e g i o n a l C r a f t s m e n
'67," at the M u s e u m of the Philadelphia
Civic Center.
PENNSYLVANIA. PHILADELPHIA
May 16-June 11 Pottery a n d W e a v i n g
by Marjorie a n d Robert Stafford. At the
Philadelphia Art Alliance.
SOUTH CAROLINA: COLUMBIA
May 14-28 R i c h l a n d Art School Festival; at the C o l u m b i a M u s e u m of Art.
TENNESSEE, MEMPHIS
3~tay 5-31 Mississippi River Craft Show,
;ponsored by the M e m p h i s Branch of the
American Association of University W o m en: at Brooks Memorial Art Gallery.
TEXAS, ,~kUSTI N
through May 14 "A Survey of Contemporary A m e r i c a n Crafts," invitational
exhibition of crafts. At the University Art
M u s e u m , University of Texas.
TEXAS: CORPUS CHRISTI
May 1-30 First a n n u a l d r a w i n g a n d
small sculpture show; at Del M a r College.
TEXAS. DALLAS
May 3-June 4 "Air, Light, F o r m : New
A m e r i c a n Glass," invitational exhibit of
blown glass. At the Dallas M u s e u m of Fine
Arts.
WORCESTER
3 WEEKS
CRAFT
Summer Session
JULY 10 through
CENTER
JULY 2B, 1767
Attend one or more weeks. Rooms available.
Informal work and instruction in six m a o r crafts
under master craftsmen in well-equipped studoworkshops.
Gerry Williams
CERAMICS
Arthur B. Mazmanlan
DESIGN
Donald Andrlck
ENAMELS
Curtis LaFolette
METAL
Ewart Tonner
REFINISHING
Anthony LaRocco
WOOD
e 300 miles from Expo '67
e 100 miles from Mr. Snow
25 Sagamore Road, Worcester, Mass. 01605
617-75:1-818:1
Brochure Dept. CM
P l e a s e Mention CM
when writing o u r advertisers
WASHINGTON~ SEATTLE
through June 4 "Art Treasures of
Turkey," 279 rare treasures from 8,000
years of history in a n c i e n t A n a t o l i a a n d
T u r k e y ; at the Seattle Art M u s e u m .
WASHINGTON, SEATTLE
through May 14 T h e 22nd A n n u a l
H i g h School Exhibit, juried work by
junior a n d senior high school students of
K i n g C o u n t y ; at the Seattle A r t M u s e u m
Pavilion, Seattle Center.
SUMMER
WORKSHOPS
Continued [rom Page 32
Green a n d R a l p h Parente (ceramics)
a n d Mrs. Bachrack a n d Mrs. Goodrich
( e n a m e l s ) . Wrlte: Mrs. H a r r i e t C.
T u r n q u i s t , Fletcher F a r m School, Chelsea, V e r m o n t 05038.
WISCONSIN., MADISON
PENLAND
SCHOOL OF CRAFTS
PENLAND, N. CAROLINA
MAY 2?-SEPT. 23
An opportunity for serious study of crafts.
Courses for credit recognized by all accredited colJeqes throuqh East Tennessee
State College.
METALWORK
CERAMICS
WEAVING
GRAPHICS
ENAMELING
JEWELRY
SCULPTURE
WOOD WORKING
DESIGN
LECTURES DEMONSTRATIONS EXHIBITIONS
Both 2 and 3 week sessions. Excellent food,
well equipped studios. Recreational activities,
hikinq, qolf. and swimm;ncj.
For catalog, write
PENLAND SCHOOL OF CRAFTS
Box M, Penland, North Carolina 28765
38
Ceramics Monthly
June 19-August 12
T h e D e p a r t m e n t of A r t at the University of Wisconsin offers an 8-week session in pottery. Instructors: M i c h a e l
C a r d e w a n d W a y n e Taylor. Write:
University of Wisconsin, S u m m e r Sessions Office, 602 State St., M a d i s o n
53703.
WISCONSINj MENOMONIE
June 18-August II
Stout State University offers h a n d building, throwing, glazing a n d firing.
Instructors: J o h n Perri a n d R o b b Wilson. Write: Art D e p a r t m e n t , Stout
State College, Menoinonie 54151.
3
Alpine Kilns . . . . . . . . . . . . . . . . . . . . . . .
A m e r i c a n Art Clay C o m p a n y . . . . 4, 37
37
A n d e r s o n Ceramics Co . . . . . . . . . . . . . .
34
Art-Crafts Supplies, Inc . . . . . . . . . . . . .
38
Art Institute of Chicago . . . . . . . . . . . .
4
B & I Mfg. Cn . . . . . . . . . . . . . . . . . . . .
32
Bergen Arts & Crafts . . . . . . . . . . . . . . .
36
Campbell. Gilrrmur . . . . . . . . . . . . . . . . .
37
Capital Ceranfics . . . . . . . . . . . . . . . . . .
36
Central C e r a m i c Art Supply . . . . . . . . .
35
C e r a m i c Expositions, Inc . . . . . . . . . . . .
37
Ceramic Master Co . . . . . . . . . . . . . . . . .
6
Ceramichrome .....................
36
Cochran, Norbert L . . . . . . . . . . . . . . . .
34
Creek-Turn .......................
9
Cress, J. J . . . . . . . . . . . . . . . . . . . . . . . .
36
Dawson, W. P . . . . . . . . . . . . . . . . . . . . .
34
Francoise Ceramics . . . . . . . . . . . . . . . . .
36
Gare Ceranfic Supply C~:. . . . . . . . . . . .
34
Illini Ceramic Service . . . . . . . . . . . . . . .
36
K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . .
37
Kinney, K a y . . . . . . . . . . . . . . . . . . . . . .
36
Klopfenstein, H. B. & Sons . . . . . . . . .
34
Kraft Korner ......................
36
L & L Mfg. Co . . . . . . . . . . . . . . . . . . .
36
Leonard, Jean, Ceramics . . . . . . . . . . . .
11
M a y c o Colors . . . . . . . . . . . . . . . . . . . . . .
34
Midwest C e r a m i c Center . . . . . . . . . . . .
37
M i n n e s o t a Clay Co . . . . . . . . . . . . . . . . .
National Ceramic M a n u f a c t u r e r s Assn. 37
34
O h i o Ceramic Supply . . . . . . . . . . . . . .
34
Oscar-Paul Corp . . . . . . . . . . . . . . . . . . .
34
Parfex Co . . . . . . . . . . . . . . . . . . . . . . . .
38
P e n l a n d School of Crafts . . . . . . . . . . . .
33
Pottery by Dot . . . . . . . . . . . . . . . . . . . .
32
Q u i m b y & Co . . . . . . . . . . . . . . . . . . . . .
4
Reward ...........................
Cover 4
Skutt & Sons . . . . . . . . . . . . . . . .
32
T e p p i n g Studio Supply Co . . . . . . . . . . .
5
T h o m p s o n , T h o m a s C., Co . . . . . . . . . .
37
T h o u s a n d Islands M u s e u m . . . . . . . . . .
36
Trinity Ceramic Supply . . . . . . . . . . . . .
34
U n i q u e Kilns . . . . . . . . . . . . . . . . . . . . . .
37
V a n H o w e Ceramic Supply . . . . . . . . . .
32
Vars, D. M . . . . . . . . . . . . . . . . . . . . . . .
36
Walker J a m a r Co . . . . . . . . . . . . . . . . . .
7
Westwood Ceramic Supply . . . . . . . . . .
34
W h i t t e m o r e - D u r g i n GI s s . . . . . . . . . . . .
38
Worcester Craft Center . . . . . . . . . . . . .
37
York State Craft Fair . . . . . . . . . . . . . .
Back Issues
The [ollowing back issues o[ Ceramics
Monthly are still available at sixty cents
per copy (Ohio residents pay 3 % sales
tax). We pay postage.
March, July, December
December
August
April, May
December
January, November, December
January (9-year Index issue), February,
April, May, ffune
t963 June, November
1964 June, September, November, ]December
1954
1955
t957
1958
1960
1961
1962
Please send remittance (check or rnoney
order) with list o[ issues desired.
CERAMICS MONTHLY
t-175 N. H i g h St.
Columbus. O h i o 4~214
Newest Selections from the CM Book Department
MOSAIC TECHNIQUES
New
Aspects ot Fragmented Design
by Mary Lou Stribling
Whatever your creative intent, whether it is directed
toward functional objects for everyday use or ambitious works
of great size and profundity, this book on mosaics is designed
to help you achieve your purpose. It is filled with inspiring
examples by contemporary craftsmen to provide you with a
glimpse of the tremendous potential of mosaics as a medium
for personal expression.
There are chapters on how to work with clay, polyester
resin, fused glass: and instructions for specific projects. These
include jewelry and small functional objects, mosaic clocks,
tables, wall inserts, pavings, pools, windows, translucent screens,
lighted panels, light fixtures, and lamp bases. Many fascinating processes are outlined in chapters on sliced bottles, sand
casting, kiln-fired glass, metal-bound fragments, and lighted
frames.
This beautiful volume contains 4-$6 "how-to" photographs,
diagrams, and mosaic examples in black-and-white and full
Price: $6.95.
color.
POTTERY STEP-BY-STEP
SIMPLE POTTERY
by Henry Trevor
This unique pottery book is a
superb introduction to the basic
methods of making pottery, as well
as a valuable source of reference
materlol on schools, museums, craft
associations, and suppliers. In addition, it contains an inspiring gallery
of modern pottery masterpieces.
Step-by-step, with the aid of detalEed demonstration photos, the
author instructs the reader on every
stage of pottery making, from clay
to finished pot.
The author describes the characteristics of clay and
ways o~ preparing clay for use, including wedging, kneading, etc. He then exolains various ways of making
pottery without a wheel - - slab, pinch, coil, and smiliar
methods. He demonstrates how to throw a pot on a
wheel: how to trim, handle, and decorate the finished
pot; how to glaze and fire the pot. Mr. Trevor also
advises the reader on how to set up a pottery workshop
with a minimum of investment.
In addition to detailed picture stories, the illustrations include beautiful photographs of pottery masterpieces from America, Europe, and Asia.
Pottery Step-By-Step is an authoritative guide for
amateurs, students, teachers, and all craftsmen who
may be trying pottery for the first time. The reference
material makes this book particularly suitable for library,
school, and institutional use. Contains over 200 illustraPrice: $7.50.
tions.
by Kenneth Drake
Pottery need not be a complicated business involving a lot of
.............
expensive apparatus, for a wide
range of attractive pots, tiles, plates
and dishes can be made with ordinary household equipment. Kenneth Drake takes the beginner
through each stage of simple pottery, explaining how to buy and
prepare the clay, how to handle
it, and how to make a variety of
useful objects in exciting shapes. He covers coiled, slab
and pinch pottery, and also deals with making plaster
molds, exploring decorative techniques, and glazing and
firing. Over 100 black-and-white photographs, 4 pages
of full color, and numerous diagrams provide a step-bystep commentary which tells the beginner all he needs
to know. This small (5" x 71/2") but valuable book comes
only $1.95.
Tn a hard cover,
i ~
Drake
:;iii
ii!dl
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Please send me the following books:
[] Mosaic Techniques @ $6.95
[] Pottery Step-By-Step @ $7.50 [] Simple Pottery @ $1.95
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'[he
differenc e in kilns
can be summed up
in one word.
Workmans hip shows in the snug fit of the lid.
The wiring. The precise sizing of firebricks. The refractory coating.
The perfect tailoring of the stainless steel jacket.
The pinned:in elements.
And whether or not the kiln is listed by Underwrit ers' Laboratori es.
It shows in a lot of little ways that make a big difference.
Does workmans hip cost extra?
NOra unless you buy a kiln without it.
2618 S.E. Steele Sh .
.
.
.
~ortland, Oregon 97202