here - Ceramic Arts Daily

MAY
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1956
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: NOW AVAILABLE
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a
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CM
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handbook
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on
COPPER
ENAMELING
21 Outstanding C M Articles
Combined in Book Form.
All the Information you
Need for Successful
Copper Enameling.
64 PAGES OF INSTRUCTION*
OVER 200 ILLUSTRATIONS
COMPLETELY
INDEXED
~
81/2
x 11 t#
FORMAT
T h e a r t i c l e s on copper e n a m e l i n g by J e a n O ' H a r a and by J o
R e b e r t a p p e a r i n g in CM since J u n e 1954 have been proclaimed
the best in basic i n s t r u c t i o n . T w e n t y - o n e o f t h e s e articles, repr e s e n t i n g basic f u n d a m e n t a l s as well as i l l u s t r a t e d how-to-do-its
on j e w e l r y , h a v e now been combined in book form and c a r e f u l l y
STEP
indexed.
BY STEP INSTRUCTION
~:
:
The p u b l i s h e r s a r e proud to p r e s e n t this m a t e r i a l under one
cover a s a service to t e a c h e r s , hobbyists, and students. The s t e p b y - s t e p p r o j e c t s in t h i s volume m a k e it an excellent w o r k i n g
h a n d b o o k ; t h e t e x t and detailed index m a k e it a valuable source
of r e f e r e n c e . O R D E R Y O U R COPY NOW'.
f-
CONTENTS
CERAMICS MONTHLY
I
I
I
I
I
BOOK DEPT.
4175 N . H I G H S T . , C O L U M B U S , O H I O
P l e a s e send me . . . . . .
copies of the C O P P E R
@ $2 p e r copy. ( CM p a y s p o s t a g e ) .
ENAMELING
Handbook
NAME
ADDRESS
CITY
ZN
STATE
Ohio R e s i d e n t s : a d d 6c S a l e s T a x p e r copy.
I enclose [ ] C h e c k
-- Money
order ........................
Let's G e t S t a r t e d • Tools and Equipment • All
A b o u t the Enamels • Sift and Stencil Method •
W e t Inlay M e t h o d • Gold and Silver Foil • N o w
to G e t Special Effects •
D e f e c t s ~ C a u s e s and
Cures •
Designing with Bits of Foil •
Modern
Cloisonne •
Lines f o r Designs •
Copper-Wire
Accents • Pitted Necklaces • Wireless Cloisonne
• Jewels from Broken Glass • Jewels Plus Foil
•
Plaques f o r Compacts •
Mobile Earrings •
Simple Link Bracelets • 3-D Bracelets •
Small
Pieces M a k e Large Plaques • Index
Dealers Write for Information
Other
ORDER I OW only
per copy
The 3rd Annual
6REAT LAKES
Ceramic HobbyExhibit
Masonic Temple
Detroit, Michigan
May 16-17-18-19-1LO, 1956
SWEEPSTAKES
CONTEST
This year the G R E A T L A K E S S H O W h a s the
Honor of playing host to the G r a n d N a t i o n a l Sweepstakes Contest. "Best of Show" w i n n e r s f r o m across
the nation will compete for n a t i o n a l honors in
Detroit.
COMMERCIAL
EXHIBITS
More t h a n 40 commercial exhibits will afford
ceramic e n t h u s i a s t the o p p o r t u n i t y of s~eing all
latest in supplies and m a t e r i a l s available. The
hibit will be national in scope as all p a r t s of
country are r e p r e s e n t e d in t h e e x h i b i t o r roster.
COMPETITIVE
the
the
exthe
EXHIBITS
There will be competitive exhibits for everyone with
prizes awarded in m a n y categories. A special room
has been obtained for the display of all e n t r i e s in
this contest.
DEMONSTRATIONS
D e m o n s t r a t i o n s by well known c e r a m i s t s a r e scheduled for each day of the show. These d e m o n s t r a t i o n s
will cover m a n y phases of clay w o r k i n g and enameling.
HOURS
The show will be open from 12:00 Noon to 10:00
P.M. Wednesday t h r o u g h S a t u r d a y . S u n d a y t h e
hours will be from 11:00 A.M. to 8:00 P.M. Tickets
will be available at the door.
EXHIBITORS'
BREAKFAST
There will be an Exhibitors B r e a k f a s t at t h e Masonic Temple Thursday, May 17, at 10:30 A.M. Price
of the b r e a k f a s t will be $2.75. T h e public is invited.
FOR FURTHER INFORMATION WRITE:
MAY, 1956
mLisf of Exhibiforsm
AMACO
ARTS & CRAFTS
ALBERTA'S
BAUMANN'S CERAMIC STUDIO
BELL CERAMICS
BERGEN BRUSH CO.
BOOTS CERAMICS
BYRNE CERAMIC SUPPLY
CALIFORNIA CERAMICS
CERAMICS MONTHLY
CERAMICS BY MADELINE
CERAMICHROME LABORATORIES
CHRISTINE'S CERAMIC STUDIO
DOR-MAC STUDIO
EVENHEAT KILNS
FERRY'S CERAMIC STUDIO
GARE CERAMIC SUPPLY CO.
GLOSS-MATIC
HART CERAMIC SUPPLY
KAY HARRISON
LORRAINE HENSLEY
MALLORY CERAMIC STUDIO
MARLENE
MARX BRUSH
MAYCO
NEWELL STUDIOS
NICE CERAMIC STUDIO
PAASCHE AIRBRUSH CO.
POPULAR CERAMICS
POWERS CERAMICS
PYRAMID CERAMICS
MARY REED POTTERY
MODEL CERAMICS, INC.
JOY REID CERAMIC STUDIO
ROSE CERAMICS
RE-WARD
SANTNER'S
AL SCHOELLKOPF MOLDS
SYLVIA'S CHINA
TRU-FYRE
TARI-TAN STUDIO
THIRZA'S CERAMICS
B. P. WOOLSEY, INC.
WHITE HORSE CERAMICS
WILLOUGHBY STUDIO
Arthur Higgs, Managing Director
Great Lakes Ceramic Hobby Exhibition
Masonic Temple, Detroit, Michigan
I
Right NOW.I
'"
"Hi-Fire"
top-loading
ELECTRIKILH
Slip a book-mark in this page--vlslt your nearest
ceramic supplier and buy several of the 28 colors now
available in
SPECIALIZED
UNDERGLAZES
When you return, you'll be able to finish fhls
magazine knowing that you're among the first to possess
underglazes that are the answer to a hobbyist's dream . . .
Underglazes that are successfully applied using brush,
a~rbrush, spatter or your own technique . . . Underglazes
that wilJ not streak or chip when used on our bodies.
Model HTL-16
for Cone 8
(2300 ° F.)
Specialized Underglazes are always uniform. The
colors remain constant from lot to lot. Intermixed hues
to sui! your own fancy are always successful.
$201.25
2 oz. jars--SOc
f.o.b.
Columbus
Crating
$12
IF NOT YET AVAILABLE LOCALLY WE WILL SUPPLY DIRECT
Pyrometer
$28.75
Econol
Electri .................
, __.
p o w e r costs. E x t r a - l o n g - l i f e e l e m e n t s i n
recessed grooves mean easier replacement,
n o l o o s e s t a p l e s . M a n y sizes.
200 West Third Street, Dept. CM, Plainfield, N. J.
.............
::::::;::::::::~
w' tASTER POTTER'SI
iiiiiiiii!~::iiiiiill
::5::::::::::::::
Exclusive fully enclosed, safe design -- no exposed mechan;sm:iii:!:iiii!/i!i:i
rylgmuler
.~Lo,t
J
Variety
of sizes a n d t e m p e r a t u r e s , b e n c h a n d
floor models. All wiring and switches approved by Underwriters' Laboratory, as in
every ElectriKiln model.
HARROP
SUPPLIES
~rom your one rel i a b l e s o u r c e ~or e v e r y c e r a m i c n e e d . G l a z e s ,
colors, ~inishes . . . tools, kiln ~urniture
and supplies, wheels . . . nets and laces.
WRITE FOR FREE CATALOG
CERAMIC
SERVICE CO.
Division Dept. E
35 E. GAY STREET • COLUMBUS 15, O H I O
W h e t h e r amateur or skilh-d artisan .
. vnu'll find the smooth motorized
operation . . . ease of control in the BIG, all,steel precision built
M A S T E R P O T T E R ' S W H E E L enables you to originate beautiful, dis,
tinctive pottery . . . . lling an3'thing you've ever d . . . . bef . . . .
Massive steel construction completely encloses mechanism to exclude clay
and molstl]re . . . assures operator safety and prnvides vibration-flee
performance. Other teatures ordinarily found only in expensixe ~.vhec]c
include: pre-lubricated bronze bearin<s fnr quiet, Ii)n~ selxice, cnnvenient . . . . . . . . .
djustable ,xedgin~ wire. large 18" throwi . . . . . . . ble
w i t h plenty of working space and a removable water clip. l(I throwing
head has joggles for easy centering, underside reverses for casting
plaster bats.
You have complete hand frec,Jom at all times . . . smnn|h instant
change ot speed from 30 to 150 rpm is controlled by a f()ot pedal.
Easy to use, even for handicapped persons. Use any ]/a H P motor.
Wheel.Standard I/4 H P . . . . . .
$ 1 6 . 9 5 when purchased w i t h M . . . . . . Poth:r's
MASTER
POTTER'S
W I T P E L F l o o r M o d e l , I t e m 47b,
W t . 90 l b s . L i s t s a t $ 1 7 5 . 0 0 - F a c t o r y P r i c e . . . . $g9.95
MASTER
POTTER'S
WHEEL
B e n c h M o d e l , I t e m 47a,
\
:::::::::5:::::ii~iii~iiii!:i~!:::
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:::::::::::::::::::::::::::
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ElectriKiln
2
VlI:I'I.
3a-M
DUrlI~CJTOn,
VVlS.
CERAMICS MONTHLY
New Decor STEALS Calif. Shows!
Volume 4, N u m b e r 5
MAY
•
1956
50 cenfs per copy
in
this
Ceramic
issue
Shopper
..................................
Suggestions f r o m our Readers
Letters
......................
...........................................
Itinerary
6
8
.........................................
Show Time: "62nd A n n u a l "
4
. ........................
10
13
Brush Shapes M a k e Pleasing D e c o r a t i o n s by Vera WaJkup . 14
T h r o w i n g : M a k i n g a Bottle by Tom Sellers . . . . . . . . . . . . . .
16
Rocking Pots by Mary Kretsinger . . . . . . . . . . . . . . . . . . . . . .
18
Slab Building in a Mold by Muriel Anderson . . . . . . . . . . . .
20
Enameling: Link Bracelets by Jo Rebert . . . . . . . . . . . . . . . .
22
A M o l d f o r Solid C a s t i n g by Dorothy Perkins . . . . . . . . . . .
24
C M Briefs: C e r a m i c
25
Accessories
....................
C r a y o n s as W a x Resist
..................
27
Answers to ~uestions conducted by Ken Smith . . . . . . . . . . .
29
The Enameler's
31
Column by Kathe Berl . . . . . . . . . . . . . . . .
CeramAc~ivitles
Overglaze
...................................
Page: Hoist N o t e b o o k by Zena Hoist . . . . . . . .
32
33
The Underglaze Series by Madge Tummins . . . . . . . . . . . . .
35
Index to A d v e r t i s e r s
37
...............................
Editor
Business M a n a g e r
Associate E d i t o r
E d i t o r i a l Associate
A r t Director
WHAT
IS DECOR?
"The outstanding NEW product at the show." This is the unanimous comment we are hearing daily about Re-Ward's
fabulous new Decor. It promises to be the G r a n d - D a d d y of all
the decorating glazes you've ever seen. Can you imagine a
glaze that "Stays Put" wherever you apply it, whether on curved
surfaces or flat? So simple to use, an amateur creates masterpieces in minutes. You apply with
a nail, toothpick, hairpin or pointed end of a brush handle and
Presto, you make beads, tear~ii¸ ~:~:;i
drops and polka dots.
'!iii:i ii!!i
•
Or do you want a foamy textured
effect? Just apply Decor with a
damp sponge. Like any other
glaze, you can use Decor on ceramic greenware or bisque, over
Velvets, M a r i e glazes, or porcelain bisque. It's a real joy!
A gorgeous selection of 10 Decor colors awaits y o u - - f r o m sparkling White to lustrous Black Pearl and a beautiful Xmas Red.
Hurry and see your Re-Ward Dealer.
L o u i s G. F a r b e r
No F u s s - N o
S p e n c e r L. D a v i s
Mary Elliott
Advisors a n d Special C o n t r i b u t o r s : C a r l t o n A t h e r t o n ; K a t h e B e r l ;
Edris E c k h a r d t ; J o h n B. K e n n y ; Z e n a S. H o l s t ; Ben M a t n e y ;
Dorothy P e r k i n s ; J o R e b e r t ; K e n n e t h E. S m i t h ; M a d g e T u m m i n s ;
Vera W a l k u p .
Costly Tools
AVAILABLE IN 2 OZ. JARS
Thomas Sellers
R o b e r t L. C r e a g e r
Waste-No
All Pastel Shades
•
•
•
Turquoise
Red Brown
M e d i u m Pink
o
•
•
•
Blue G r e e n
Yellow
Black
Light G r e e n
•
•
•
Black P e a r l
Red
White
"Beauty by the B~ntsh/ul"
C o v e r : Design by R o b e r t L. C r e a g e r
P h o t o g r a p h s by E. L. A n d e r s o n
Ceramics M o n t h l y is published each m o n t h a t t h e L a w h e a d Press,
Inc., A t h e n s , Ohio, 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. a n d Treas. ; L. G. F a r b e r , V. P r e s . ; P. S. E m e r y , Secy.
S U B S C R I P T I O N P R I C E in U . S . A . a n d P o s s e s s i o n s ; one year, $ 4 ;
two years, $7; t h r e e years, $9. C a n a d a a n d P a n A m . add 50 cents a
y e a r ; f o r e i g n , add $1 a year. C u r r e n t issues, 50c; back issues, 60c.
ALL CORRESPONDENCE
(advertising, subscriptions, editorial)
should be sent to t h e editorial offices a t 4175 N. t t i g h St,, C o l u m b u s
14, Ohio. E n t e r e d as second-class m a t t e r a t the post office a t A t h e n s ,
Ohio, as g r a n t e d u n d e r A u t h o r i t y of t h e A c t s o f M a r c h 3, 1879.
C o p y r i g h t 1956 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. A l l r i g h t s reserved.
CERAMIC
COLOR
MANUFACTURERS
1985 Firestone Blvd.
Los Angeles 1, California
"Imitated but Never Duplicated"
SEE Y O U A T T H E S H O W S !
CERAMIC
New Enameling Book
The
publishers
of
C~RAMICS
MONTHLY magazine have just produced a new book. Called "A C M
H a n d b o o k on Copper Enameling," it
one cover as a service to teachers,
hobbyists and students.
T h e 64-page volume contains over
200 photographs and covers the basic
fundamentals of enameling in general
as well as specific how-to-do-it projects on making jewelry and accessories. In addition to being an excellent working handbook, the detailed
index makes it a valuable source of
reference.
This is tim first time this brand new
book has been offered. You can obtain your copy by sending $2 (Ohio
residents add 6 cents sales tax) to the
C M Book Department, 4175 N. High
St., Columbus, Ohio. (You may use
the h a n d y coupon on the inside front
cover of this issue.)
For prices and other information,
write directly to the c o m p a n y at the
Minneapolis address. Please say C M
sent you.
New Wire Stilts
Tripods approximately ½ " high,
made of Inconel wire, are claimed to
be the new modern ware support.
Called "Speedy Spurs," only one size
is required to stilt most types of ware,
ranging from jewelry to large pieces
of pottery, states the manufacturer.
They are welded in a perfect bond to
i!t~
,
•
~I
.
.
.
.
.
t
~
~
~
~
~
~
l
~'~',,
,, It
Sculpture Clay
is based on 21 of the outstanding C M
articles by Jean O ' H a r a and by Jo
Rebert which have been combined
and re-edited. T h e publishers are
proud to present this material under
A sculpture clay which can give
varied surface textures (including
smooth) has been prepared by the
Minnesota Clay Co., 3458 T e n t h Ave.
S., Minneapolis, Minn. A high-iron
clay to which white grog has been
added, it fires to a stonelike quality
similar in appearance to granite. The
coarse grog addition makes it possible
to build larger and more solid figures,
and the high plasticity makes it a
good throwing clay, states the manufacturer. It is available in red or white
dry powdered form in 100-lb. bags.
d
withstand very high temperature and
can be used over and over.
Recommended for copper enameling as well as ceramics (up to stoneware temperatures), these are available from the Cole Ceramic Laboratories, Gay-Way, Sharon, Conn. Write
directly to Cole for full details, mentioning CM.
For Interesting New Glazes
ask for M A Y C O ' s
.
.
Reef Coral
Royal Purple
.
.
Blossom Pink
Black Luster
Blue Green
.
.
. Bronze
Aztec Jade
Alpine Blue
Flame Blue
Twilight Grey
Black Gloss
Canary Yellow
Beauty and Charm the easy way!
These refreshingly new Brush-On glazes can be one-fired
at cone 06 and ore safe +o use--even for children. They
4
contain no white lead. For exotic effect use with WHITE
DRAPE.
CERAMICS MONTHLY
"Pinky" and "Blue Boy"
will i n c r e a s e your M o l d Sales ./
¢
Just completed "Pinky" and "Blue Boy" H-639, 191/;~'' high
with base, and "Blue Boy" H-640, 20" high with base, are
made in two sections. Each half can be fired in an 11"
kiln.
If fired in sections, they can be put together per-
manently for use as figurines or lamps. These molds can
be slip-stuck if a 17" kiln is used. Setters for torsos are
included for bisque firing.
Base H-641 for both figurines is
designed for lamp mounting.
i+i~iiiii+!ii~!i+i+i+ii!:i;
Ask for our FREE C a t a l o g !
Look for the Dutch Kids, our registered Trade Mark, your assurance
of a genuine Holland Mold
1040 P [ N N S Y L V A N I A
IV
TRENTON
N.J.
£S
2-7037
~r
Acclaimed
Everywhere
by
Teachers
and
Professionals
for
Performance!
~r
This Nationally
Recognized
Power-Driven
Precision Wheel
IN NEWFOUNDLAND
and the C A N A L ZONE
(ond hundreds of places in between)
you'll find "made in Memphis"
EX-CEL WHITE SLIP.
( S h i p p e d complete,
Less Motor)
THERE MUST
BE A REASON
~r
FOR THIS WIDESPREAD POPULARITY.
only $ 5 7 . 5 0
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 builf-ln
features . . . ADJUSTABLE arm rests: BUILT-IN water container; VAP.IABLE speed drive; QUIET bronze and babbif
bearings: ADJUSTABLE foot-pedal control; UNUSUAL size
range.
Before you buy, Write B & I . . . get full, free details; Pointby-poinf, 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 $57.50.
B & I Mfg. Co., Dept. C. Burlington, Wisc.
WHY DON'T YOU
FIND OUT W H A T IT IS?
HOUSEof CERAMICS
3295 Jackson
Ave.
MEMPHIS12, TENN.
" O r i g i n a t o r s and Makers of f a m o u s B & I G E M M A K E R S "
MAY, 1956
5
F O R Easier and Better Firing
Low-Cost Operation
Money-Saving Prices
Factory Guarantee
from
AN IDEA FILE
K e e p an idea file! I b o u g h t
a c o r r e s p o n d e n c e file a n d
keep it filled with every design t h a t I have used and
n i n n y sketches a n d design
ideas t h a t I hope to use.
W h e n in need of some n e w inspiration for myself or a fellow s t u d e n t , it comes in very
handy!
--Alice Twiggs
N. A u g u s t a , S. C.
SPECIFY A
PARAGON KILN
Compare these Outstanding Values
MODEL
R.3
Max. Temp.
2 0 0 0 o F.
$160.00,
SPECK REMOVER
If specks of ash or firescale
get into your copper e n a m e l
while sifting, you will find it
is easy to r e m o v e t h e m with
a d a m p e n e d toothpick or the
m o i s t e n e d tip of a brush
h a n d l e . W h e n t o u c h e d to the
ash, either i m p l e m e n t will
pick it u p quickly a n d easily.
- - O l i v e M. Maclver
Wellesley Hills, Mass.
n o
z rating
c barge,
f. o. b. D a l las. F i r i n g
Chamber:
17"
across
x 20" h i g h .
19 a m p e r e s
a t 230 v o l t s
ping weight (
lbs.
ModM
R-3
MODEL
A-55
Max. Temp.
2 3 0 0 ° l,.
$60.00,
Model
n
o
crating
c barge,
f. o. b. D a l las. F i r i n g
Chamber:
11"
across
xl
3 zA ,,
h. R e q u i r e s o n e
a m p . 115 v o l t
'cuit.
Shipping
w e i g h t o n l y 68 lbs.
A-.55
MODEL A-66 Max. Temp. 2300°F. $72.50, no
crating charge, f.o.b. Dallas. F i r i n g Chamber
14 3/8" across x 13 1/2" high. 13 amperes at
230 volts. Shipping W e i g h t only 90 lbs.
MODEL H-17S Max. Temp. 2400°F. for cone
10 firings. $291.50, no crating charge, f.o.b.
Dallas. Firing Chamber: 17" x 17" x 18"
high. Maximum Power Consumption 6000
w a t t s at 230 volts. Shipping weight 500 lbs.
FREE CATALOG: complete information on
24 models of P a r a g o n Kilns.
PARAGONINDUSTRIES
P. O. Box 1 0 1 3 3
6
-
our
Dallas 6, Texas
SLABS WITHOUT ROLLING
Y o u (:an m a k e slabs of clay
w : t h o u t following the usual
rolling
procedure.
Merely
place a d a m p cloth or wax
p a p e r on an o r d i n a r y commercial glazed tile (or a n y
s:nooth s u r f a c e ) , followed by
the clay, a n o t h e r sheet of
w a x e d p a p e r or d a m p cloth,
a n d finally a n o t h e r tile. Press
the two tiles t o g e t h e r with a
horizontal twisting m o t i o n a n d
the clay will g r a d u a l l y be
forced into a s m o o t h slab.
O f course, this t e c h n i q u e is
n o t applicable to large slabs,
b u t it is p a r t i c u l a r l y useful for
m a k i n g small, flat slabs of soft
clay.
--Glada B. Walker
H a r r i s o n b u r g , Va.
STORAGE CANS
The kitchen and pantry
h a v e p r o v e n to be veritable
storehouses of tools a n d supplies for the busy, part-time,
housewife-potter. D o n ' t overlook the 5 - p o u n d s h o r t e n i n g
cans as storage bins.
W h e n body stains are used
Dollars
for
readers
to color a relatively small
a m o u n t of clay, the leftover
clay (which c a n n o t be p u t
back into t h e larger bin) c a n
be conveniently stored in a
clean,
5-pound
shortening
can. T h e lids are airtight,
a n d the cans stack easily a n d
neatly on a shelf.
! T h e y are also very h a n d y
for storing small a m o u n t s of
plaster as well as glaz~ c h e m icals.
Mrs. Irving L. Robbins
R i c h m o n d Heights, Mo.
REWORKING GLAZES
If a glaze thickens or dries
out, add a small a m o u n t of
water a n d beat the m i x t u r e
with a toy rotary egg beater
(available at most novelty
stores for u n d e r twenty-five
cents). T h i s is a quick a n d
easy way to m a k e your glazes
s m o o t h a n d useable.
--Mrs. M. M. Sanders
Ft. W o r t h , Tex.
SPECIALIZED STILTS
T h e stilting of bells, salta n d - p e p p e r s a n d other similar
objects can be tricky because
they are generally glazed
overall a n d there is no bare
spot for stilting. T h e problem
..
is eliminated, however, if you
m a k e y o u r own stilt (see
sketch) suspending the piece
from the inside. T h e height of
the stilt, of course, depends
on the article.
--Martha Ryan
Windsor, C a n a d a
your
Thoughts
CM pays $1 to $S for each item used in this column. Send your
bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14,
Ohio. Sorry, but we can't acknowledge or return unused items.
CERAMICS MONTHLY
See( CilAFTOOL" S ~.
F, r o w i n g line of
potter's w h e e l s for e v e r y purpose!
~GLE
EEL
.....
NO.iOlO.L.~1..5o
For schools or the ceramist who
needs a top performing wheel
at a down-to-earth price.
No. 2 1 1 0 . . . $98.50
(TREADLE)WHEEL
$120.00
Ruggedly constructed and easy
to operate. Ideal for schools, I v
therapy shops and studios.
4
/
Send for the NEW
I
Complete Craftools Catalog
I
il'lll
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ltF.l gll I [ 1 [ I ] I k ' ~ l l k I L _ L
Especially designed for constant
operation; particularly suited for
classroom work.
No. 1128... $189.50
30 BRILLIANT CERAMIC COLORS
• . . R e a d y for i n s t a n t u s e !
DEPT. CM, 401 BROADWAY, N.Y.C.
N o f u s s ! N o m u s s ! Just dab a brush into any of
the 15 Liquid Overglaze or 15 Liquid U n d e r g l a z e
Colors and apply directly to y o u r ware. E a c h set contains strong, deep colors. Easy to mix for i n t e r m e d i a t e
shades or with white for pastels.
I
"YOU ASKED FOR IT!"
The Underglaze
C o l o r s can be used for E n g o b e s
or Slip S t a i n s - w o r k equally well on raw or bisque
ware, in either one or two fires. T h e r e ' s one full o u n c e
in each jar.
The Overglaze
C o l o r s are the finest obtainable, all
milled superfine to m a k e china painting a real pleasure. I n c l u d e d are three costly colors: Pink A - 1 6 4 4 ;
M a r o o n A - 1 6 4 5 and Purple A - 1 6 4 9 , which contains
gold c o m p o u n d s . E a c h jar contains about 1 / 1 0 p o u n d
of color.
E a c h set is attractively boxed with two multi-purpose
brushes and instructions. Order today!
A GIANT SIZE KILN AT LOW COST
PERFECTFOR COPPERENAMELINGOR CER/,MiCSl
IT'S EXCEPTIONAL FEATURES ARE:
1.
Large Firing Chamber . . . 4 " x 8 " x 8 "
. . . even
fires large size trays and bowls.
U.L. Approved Cord (110 volts) . . . just plug it
in, it's ready to go[
Will fire to Cone OS.
See-through Peep-hole in door!
4 elements on 2 sides in porcelain holders.
Front counterweighfed door.
Made by L & L . . . the most reliable manufacturer
in the industry!
Thoroughly tested and guaranteed.
2.
3.
4.
5.
6.
7.
8.
Only $25 Complete-No Packing Charges!
Order
Be
Today
rl,~e/'l.
MAY, 1956
Supply Limited
Shipped
Dealer Inquiries Invited
Express
Arts & Crafts
i ~ m m m roll mlU m a m m m m m m m m l m m m m m u m u m l m m m M u u m m ~ m m ~ m i ~
:
B . F . Drakenfeld & Co., Inc.
j
45-47 Park Place, N e w York 7 N . Y .
g
•
.
•
n
I
•
I
:
n
:
:
:
•
I will pay shipping charges,
N
A
M
E
II
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•
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Gentlemen: Attached is my check f o r . . ,
• • Overglaze Set.......................................... $10.0O
[ ] Liquid
[] Liquid Underglaze Set ...................................... 5.00
I[
II
II
CM
•
x
I
a
i
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1N
ADDRESS
I
C
I
T
Y
/
[~
~
Z
O
N
E
_
_
S
T
A
T
E
_
_
Send me the Drakenfeld catalog of prepared
glazes, clay bodies, electric kilns and other
ceramic supplies.
I
!
1
Co]]eet
173 DBe epet .c h C KS E
treet
Hackensack, N. J.
"DrolenFe/J
7
A
GLORIOUS
OPPORTUNITY
TO
OWN
THE
STUFF OR ART?
D e a r Editor:
M o s t of y o u r articles are interesting, b u t
please give us less of the e x a g g e r a t e d stuff
called " a r t . " It is n e i t h e r true, n o r b e a u tiful, a n d certainly is n o t art. M a n [ h a s ]
e m e r g e d f r o m the primitive centuries . . .
I feel no u r g e to return.
(MRs.) CLARE DONAHUE
Kay Harrison
Studios
We're retiring to do full tlme research,
creative err and writing for you--all
things we couldn't do while managing a
thriving business. This is a wonderful
chance for a family or group to take
over a prosperous business wlth well
established products and markets and a
highly select clientele.
We-will sell, rent or lease the double,
cream brick, modern colonial building,
built especially to our specifications for a
ceramic studio, lust six yeats ago. If has
a beautiful display room wlfh expensive
lighted cases, all fully stocked wlfh hand
glazed show pieces. Overhead fluorescent
lighting throughout. Ventilating system,
9000 feet of floor space, fully equipped
with metal shelving. ($10,000 will handle
stock.)
A light pine-paneled class room large
enough to seat 22 students comfortably,
with capacity for 75 or more at demonstrations. Two furnaces, three lavatories,
large casting room, kiln room, shipping
and stock room combined and an office.
A superb opportunity for a party wlth
art and ceramic background and the personality to meet the public on a high
level. Will sell only to the tight party who
can and will continue the business in the
proper manner. Must be financially responsible. No others need apply. Send for
group photographs and details or see it
for yourseff while you visit the ceramic
show in Detroit.
Located in high class restricted d~strict
across from Marygrove College and near
two medical centers. Double lot behind
the studio suitable for home site, if desired, in an exclusive residential area.
Note to out customers: Business is going
on as usual and we will as usual, be providing you with our highest quality Kay
Harrison Products . . . Velva-PIy Glazes,
ceramic and copper supplies the Kay
Harrison nfra-Redhead Kiln and all the
other products you have so enthusiastically supported.
Butler, Pa.
HONORS
FOR CM
Dear Editor:
A portion of the ceramic studios in
Western, E a s t e r n a n d S o u t h e r n tiers h a v e
become i n c o r p o r a t e d u n d e r the n a m e of
the New York State Ceramics Dealers
Assn., Inc.
It is the p u r p o s e of the g r o u p to spread
the gospel of ceramics t h r o u g h u n i t y a n d
ethical practices a n d we hope before long
to have m a n y m o r e studios join us to
f u r t h e r the cause.
I n recognition of the fine c o n t r i b u t i o n
you are m a k i n g to ceramics t h r o u g h CERAMICS MONTHLY, we h a v e placed y o u r
n a m e u p o n o u r roll as an H o n o r a r y M e m ber . . .
HELENE M. DOLLMAN
C o r r e s p o n d i n g Secretary
Western Chapter
BALM FOR BURNHAM'S BULLS
D e a r Editor :
...
I take exception to the M a r c h
letter f r o m the lady f r o m Georgia [ . . .
" B r a h m a B u l l s - - W h a t Next!]. I think the
B r a h m a Bull article [by Lee B u r n h a m ]
was very interesting I love a n i m a l s too
a n d feel there is b e a u t y in every one of
G o d ' s creations if we have the ability to
recognize it. E v e n the lowly oyster produces the pearl a n d its origin is often
" j u s t a grain of s a n d . "
K e e p up the good work a n d let's h a v e
m o r e hows a n d whys like this one!
MARY R. PERREY
Elkridge, M d .
SOUND OFF!
D e a r Editor:
I n 19.52 I [received] a B F.A. in Design,
specifically in ceramics . . . I could not
i m m e d i a t e l y e n t e r the role of studio hotter,
w h i c h I longed to do. C M . for the past
three years, h a s been a source of inspiration, h e l p i n g me keep m y d r e a m intact.
T h i s m o n t h [January], I f o u n d Ball's
article of deep inspiration. T h e r e h a v e
been m a n y articles like his in past issues
t h a t h a v e c o n t r i b u t e d to m y happiness.
T h a n k you.
T h e r e are so m a n y appreciative people
in the c e r a m i c field n o w w h o e n j o y c h i n a
p a i n t i n g , figurines a n d flowers, a n d they
like to show their a p p r e c i a t i o n by writing
letters to t h e Editor. T h o s e who, like m e ,
enjoy
articles p i c t u r i n g
contemporary
works, a n d c o m m e n t s c o n c e r n i n g m e t h o d s .
should, by all m e a n s , also show their
appreciation• P e r h a p s y o u r m a g a z i n e could
t h e n i n c l u d e m o r e of the articles we want.
I a m only sorry I was reserved a b o u t
s h o w i n g m y appreciation. T h a n k s for keepi n g m e u p - t o - d a t e on good ceramics . . .
CORA toy ELLWOOD
Lindsborg, Kansas
8744 W. McNichols Rd., Detroit 21, Mich.
UNiversity 2-9222
Dear Editor:
• . . I can honestly say that outside of
two large group lessons I had on the
wheel, C M a n d T o m Sellers h a v e t a u g h t
m e h o w to t h r o w pots on the wheel. ( H o w
good t h e y are is for s o m e o n e else to judge. )
Surprisingly, people b u y there, a n d at the
East S t r o u d s b u r g Fair ( P e n n s y l v a n i a Guild
of C r a f t s m e n ) one was p u r c h a s e d to be
sent to Sweden.
I n addition, the articles on design, a n d
those by Perkins a n d E c k h a r d t , to m e n tion a few, h a v e been of inestimable help
to me. T h i n k i n g along these lines, I have
o f t e n felt t h a t some type of r e g u l a r article
could be w r i t t e n by y o u r subscribers telling
the professionals to w h a t e x t e n t their written words c a n actually be used . . .
MRS. G. B. HODOWS, JR.
Williamsport, Pa.
WHERE'S THAT INDEX!
D e a r Editor:
I would like to p u t in a vote for an
i n d e x of the c o n t e n t s of your valuable
magazine.
L e a f i n g t h r o u g h old issues,
looking for a h a l f - r e m e m b e r e d article is
pleasant, b u t a n n o y i n g w h e n one needs
the i n f o r m a t i o n in a hurry.
MRS. A. L. BENTON
I o w a City, Iowa
Dear Editor:
• . . Y o u w o u l d m a k e life a lot simpler if
y o u would p u b l i s h a n i n d e x every six
m o n t h s . . . Please send m e three C M
binders . . .
ELINOR VAGTBORG
E p h r a i m , Wis.
D e a r Editor :
• . . I paste a sticker in the top corner
of m y copies of C M a n d list the articles
a n d page n u m b e r s of the items I w o u l d
especially like to r e m e m b e r . W h e n lookin:g
for a special article I c a n find it
quickly...
CATHY C. WILLIAMS
C a t h y ' s C e r a m i c Studio
Cleveland, O h i o
• The Editors will bow (as always) to
the wishes of the readers. I[ there is sufficient interest in an index, we will arrange
to have one prepared• I f you want an
index made, please write.--Ed.
POTTER'S PLIGHT
D e a r Editor:
I received a letter ( a n d p h o t o ) I
t h o u g h t w o u l d interest you. It c a m e from
G. R o b e r t Kinzie, N. M a n c h e s t e r , I n d i a n a ,
a n d it said in p a r t :
" Y o u r r e c e n t C M article [ J a n u a r y ] has
truly solved the p r o b l e m of t h r o w i n g tall
pots, b u t then, it h a s also created n e w
p r o b l e m s (see p h o t o ) . . ."
Y o u r readers m a y be as a m u s e d as I was.
F. CARLTON" BALL
C a r b o n d a l e , IlL
• Reader Kinzie, and others, may be interested to learn that Carlton Ball has
also solved this newly created problem.
Watch for his forthcoming article on how
to get tall pots from short kilns.--Ed.
CERAMICS MONTHLY
i
Im
I
I
I
I
NOW AVAILABLE NEW
CERAMICCOLORS
,/4[,/.~- O~t~,s r,,--
•
•
[ h ~ B Texture
lY IPWIITIIT 61aze
M a d e Especially f o r " B l o b b l n g " on
UNDERGLAZESnMATTSmSEMI-MATTS
OR G L O S S
GLAZES
to achieve I N N U M E R A B L E EFFECTS
10 EXCITING COLORS
.80 4 oz. JAR
721 Snowflake White
726 Princess Orchid
722 Camelia Pink
727 Indian Turquoise
723 Primrose Yellow
728 Apple Green
724 Cinnamon Brown
729 Smoky Grey
725 Iron Black
730 Pacific Coral
Glazes by Ceramichrome
ASK FOR FREE INSTRUCTIVE LITERATURE
SEE YOUR NEAREST CERAMICHROME DEALER
A r e N o w A v a i l a b l e in 11 Beautiful Colors
4 oz. Jar .65
468 Midnight Lustre
461 Indian Summer
481 Silvertone
462 Tiger Eye
463 Golden Harvest
PLUS 2 NEW
464 Green Moss Art
EXCITING COLORS
46S Silver Lake Blue
482 Deep Purple
466 Chestnut Brown
483 Old French Blue
467 Moonlight Grey
For surprising beauty, try the Beauty-FIo glazes on
porcelain• The results will please you, as the effects are
beautiful with a lustrous seml-matt and gloss finish when
fired from Cone 3 to 6.
Ask f o r Free I n s t r u c t i v e L i t e r a t u r e
ALSO AVAILABLE 451 Blu-Whife China Matt Glaze
4 oz. at .50 and MENDSWARE 2 oz. at .SO
A N D ~ I a s t but not least CERAMICHROME'S NEW
PEPPER GLOSS ART GLAZES - - 921 Red Pepper
- - 922 Orange Pepper - - 923 Yellow Pepper
4 oz. - - $1.00
CERAMICHROME
Laboratories
2111W. SLAUSON
•
LOS ANGELES 47,
•
CALIF.
with FINISHEDJEWELRY
Tv -'
for the
COPPER ENAMELINGHOBBYIST
From
the
Asbury
CUFF LINK
Park
ii
Ceramic
No. $1.00
64
Price
Plus10% Federal
ExciseTax
Show . .
Available in Antique
Copper and Antique
Silver, Gold Plated
and Rhodium Plated
Necessary copper
inserts are supplied
in each package.
• . . we pcss along to you this Seashore Theme.
No.
No.
No.
No.
8
l0
28
28A
Large Whale Ashtray ........
Small Whale A s h t r a y ........
P l a i n T r i a n g u l a r Low Bowl
F i s h D e s i g n Bowl . . . . . . . . .
$5.50
3.25
_ 4.50
5.00
T h e s e a c c e s s o r i e s a r e lovely f o r y o u r own h o m e
or t h e y m a k e d e l i g h t f u l g i f t s .
Send f o r
FREE i l l u s t r a t e d
brochure
& Price
List
All molds (c) Bee, F O B Rumson, N.J. Add 10%
for packing, 50c minin~t~m No COD's, please.
~
~
~
~
DEALERINQUIRIESINVITED
~
f
~
,
SALESOFFICE
MAIN OFFICE
809MainSt.
RailroadST.
cV~~
R Attlebora,Mass.
C T,nc.
70 Oak Tree Lane, Rumson, N.J.
MAY, 1956
Ask your dealer for Copper Cat jewelry: cuff links, tie clips, tie
slides, earrings, bracelets, necklaces, barrettes, buttons, pins, collar
pins, rings, key chains, and pill boxes.
9
Detroit
through June 3
,w0
MICHIGAN,
SCHOOL
HOBBYISTS
Send show announcements early--Where
to Show: three months ahead of entry
date; Where to Go: at least six weeks
before opening.
EVERYWHERE
Available thru the CM Book Dept.
i
WHERE TO S H O W
French Taste in the 18th Century, ineluding more than 150 pieces of faience.
and porcelains. At Detroit Institute of
Arts.
N E W YORK, I t h a c a
through May
California D e s i g n e d - - h o m e furnishings
and accessories including ceramics at
Dept. of Housing & Design, Cornell
Univ.
CONNECTICUT, Norwalk
June 8-july 8
NEW JERSEY, M o n t c l a i r
Silvermine Guild of Artists Annual New
England Exhibition. Media includes ceramic sculpture. Open to residents of New
England. Jury; prizes. Fee, $4. Work due
May 11-14.
•
through May 20
New Jersey Designer-Craftsmen exhibition at Montclair Art Museum.
N E W YORK, A l b a n y
WHERE TO GO
THE COMPLETE BOOK OF POTTERY
MAKING
By John B. genny
Exaggerated title? Not at all. All of the most
popular pottery-making fechnlques are explained in detailed, step-by-step photo lessons. Included is basic information on clays,
glazes, bodies, firing, plaster, many other subiects. Large format (7" by 10"}, 242 pages,
more than SO0 photos and drawings.
$7.50
. . . . . . . . . . .
May 3-June 4
21st Regional Exhibit at Albany Institute of History & Art.
CALIFORNIA~ S a c r a m e n t o
May 16-July 1
N E W YORK, N e w Y o r k
Kingsley Art Club 31st Annual Exhibition at E. B. Crocker Art Gallery, 216
O St. Includes crafts.
May 29--June 2
Greenwich House Pottery Students' Show
at 16 Jones St.
DELAWARE, W i l m i n g t o n
through May 22
American Craftsmen 1955 at The Wilmington Society of Fine Arts.
CERAMIC-ING VACATIONS
Summer 1956
See "Ceram-Activities," p. 32, for
details about schools and workshops
offering ceramic instruction.
,
ILLINOIS,Chicago
May 16-June 14
Design in Scandinavla--over 700 massproduced pieces--at Chicago Art Institute.
OHIO, C l e v e l a n d
May 2-June 10
INDIANA, B l o o m i n g t o n
11
through May 22
Italian Arts and Crafts, contemporary,
at Fine Arts Dept., Indiana Univ.
INDIANA,South Bend
May 30-June 3
CERAMIC SCULPTURE By JohnB. Kenny
This latest book by Kenny is as valuable
as his "best seller" on "Pottery Making." Mr.
Kenny uses the same step-by-step pictorial
technique and an identical format. Containing over a thousand photos and sketches it
covers all phases of the sculptor's art from
beginning essentials to advanced proiects ,
including animals, chessmen, figures, and
many others.
$7.S0
ORDER
NOW!
PLEASE
SEND
I
NAME__
ADDRESS
CITY .
CERAMIC HOBBY SHOWS
May 2-6
.
.
.
.
.
.
.
.
At Masonic Temple, Detroit, Mich.
.
STATE---
OREGON, PORTLAND
Annual Exhibition of Northwest Ceramics at Oregon Ceramic Studio, 3934 S.
W. Corbett Ave.
TENNESSEE,Chattanooga
through May 22
American Jewelry and Related Objects,
contemporary, at George Thomas Hunter
Gallery of Art.
TENNESSEE, C h a t t a n o o g a
May 20-June 17
May 16-20
_ _
.
38th Annual Exhibition of Toledo Area
Artists; ceramics included. At Toledo
Museum of Art.
New England Crafts at George Thomas
H u n t e r Gallery of Art.
"GREAT LAKES"
ME:
MASSACHUSETTS,
Boston
through May
_ _
I [ enclose $
. Please sencJ remittance
L i t h order. Ohio add 3 ~'oSaIes Tax.
iO
Eleventh National Decorative Arts-Ceramics Exhibition at Wichita Art Association, 401 N. Belmont Ave.
N..l.
~]. Complete Book of Pottery Making
[ ] Ceramic Sculpture
I
through May 15
At Convention Hall, Asbury Park,
V C e r a m i c s Monthly Book Dept.
417S N. High St., Columbus, Ohio
OHIO, Toledo
May 6-27
May 12-June 9
KANSAS, W i c h i t a
"EASTERN"
Money back guarantee. We pay postage.
I
Annual Regional Ceramic Exhibition at
South Bend Art Association Galleries,
620 W. Washington Ave.
Annual May Show--work of Cleveland
Artists and C r a f t s m e n - - a t Cleveland
Museum of Art.
J
New Hampshire craftsmen's show, a traveling exhibit arranged by the Guilds of
League of New Hampshire Arts and
Crafts, at Massachusetts School of Art.
Austin
May 4-June 3
TEXAS,
Texas Fine Arts exhibition including
crafts at Laguna Gloria Art Gallery.
WEST VIRGINIA, Huntington
through May 20
Fourth Annual Exhibition 80 at Huntington Galleries.
CERAMICS MONTHLY
from
for
one
Source...
one
Or1
standard pyrometric
Cones
Orton provides a complete cone service. No
matter what your firing operation is, there is
an Orton cone to meet your needs.
Large Cones are made in Cone Numbers
from 022 to 42 inclusive. P.C.E. Cones are
available in Cone Numbers 12 to 42 inclusive.
Small cones are made in Cone Number 021 to
12 inclusive. Cone Numbers 311//2 and 321/'2 are
available in the Large and P.C.E. Cone series.
Cone Numbers 21, 22+ 24 and 25 are not produced.
Large cones Numbers 010 to 3, made of an
iron-free composition are available upon request. Such cones are suitable when reducing
conditions are used in the last stages of firing.
Plaques for both large and small
*
.
cones are made in compositions for both A ~ : ~ :~ll~
ordinary, temperature ranges and very
~
++* ~>~
high temperatures.
Molds for making test cones for the ~!+++ + ~ j
P.C.E. test are also available.
Write today for the free 56-page
booklet "The Properties and Uses of
P.C.E.
Pyrometric Cones," and the new TemperCONES
ature Equivalent Table prepared by the
Foundation.
~\
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~ ~ ~a ~'-..
Perfect
•
•
•
f o r Use in S c h o o l s
Reaches Enameling Temperatures Oulckly
Sturdy, Simple Construction
Low-Cost, Trouble-free Operation
FREE TEXT
ON
ENAMELING
by Thomas E. Thompson.
L
OUES
Send for your copy of
~
this 40 page illustrated
text on metal enameling.
LAR
/:
CONEsGE ~'
/ +~,:'
:~*iv+~
....
For export orders contact the Ferro Corporotinn. 4 1 5 0
Techniques - - tools - equipment - - types of
enameling - - firing - finishes, etc.
SMALL CONES
Eolt s6th Straat_ C l a v a l o n d
Silver plated metal--no pre-cleaning--no formarion of oxide scale--costs little more than
copper.
NEW
N E W
MAY, 1956
Complete line of Opalescent colors--beautiful
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12
INQUIRIES
11.
of written questionnaires, surveys, sample testing
and suggestions from leading ceramists al! aver
the nation.
~=
~
A l l t h e f a m o u s D u n c a n Q u a l i t y a n d E-Z a p p l i c a tion combines with the most rigid specifications
t o g i v e Y O U a L I Q U I D t r a n s l u c e n t u n d e r g l a z e in
colors and vehicle of a quality never before
achieved.
24 Sparkling ONE-STROKE shades that can be
brushed, sprayed, airbrushed, stippled or spattered. Good for fine detail work, China painting
technique on greenware or bisque:
A s k f o r t h e m a t y o u r d e a l e r s o r d i s t r i b u t o r s . See
them demonstrated at the ceramic shows.
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oz jot 4 5 c
Ceramt-certlfied COLORS
Old Rose
Cinderella Pink
Irish Green
Willow Yellow
Sierra Yellow
Forget-me-not Blue
Royal Purple
Ruby Red,
There's a
Mahogany Brawn
French Brown
Sienna Brown
Jet Black
White
Jade Green
Pnnsy Purple
Grass Green -
Dark Turquoise
Chartreuse
Smoke Grey
Mulberry
Dark Orchi d
Flesh Tone
Midnight Blue
Royn| Blue Green
DuneanDistributornear
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INVITED
CERAMICS MONTHLY
ii i~i~ii~iiii~iiiii!iiiii!~ii!ii)ii
ii!~ ~ii~iii~ii~ ~i!i i~ ii i
S H O W TI
E
62nd A N N U A L OF THE
N E W Y O R K SOCIETY
OF CERAMIC ARTS
ii~ii:i!!i!iiii!i%i!ii!!77~i
¸i i
Sculpture, glass, enamels and pottery composed "Ceramics 1956," the
62nd annual exhibition by members
of the New York Society of Ceramic
Arts at the Cooper Union Museum
in New York last March. Calling the
show a cross section of what is being
done in the field today, Oppi Untracht, member of the jury, reports:
"]'he range of expression swung from
purely classic influences of great historical periods to the most strongly
personal statements in contemporary
terms. Fortunately, for t h e evolution
of new directions, the weight of the
show lay in the use of the mediums in
fresh and challenging aspects." Among
pieces on display were those shown
here: 1) vase decorated 'with horses
in intaglio - - Rose Krebs; 2) plate-Pricilla Porter, vase - - Dorothy Larson; 3) llama - - Margot Kempe; 4)
enamel-on-steel - - Oppi Untracht;
5) matched set - - Margaret Israel.
(Read about another feature of the
show on page 34.)
MAY, 1956
~i~i!i!!iii!i~i~i!iiili,
13
second of a series
on brush decoration--
BRUSH SHAPES
by VERA WALKUP ..~
ranges from a most
~]~rushwork
simple type which calls for little
skill in handling the brush to the very
complex requiring great control and
technical facility with the brush.
Whether it is simple or complex, however, the work can be equally
beautiful.
Befoi~e you start to do brushwork,
look at the tool itself--in this case, the
big, pointed, red-sable brush recommended for your first purchase in the
previous lesson (March). See the way
the shSped hairs make a curving outline that is strong yet graceful. It is
the simple beauty of this brush shape
in itself that will form our first decorations.
Dip the brush in ink and lay it flat
on p a p e r - delicately the first time,
then again with more pressure. Each
time you lay the brush down, you will
get a similar yet subtly different shape,
some more pleasing than others. Try
to get the feel of your brush, and try
to feel at what pressure you are more
sensitive to it. Brushwork is a delicate
proposition. The slightest difference in
pressure on the brush can make the
difference between strong, sensitive
strokes and weak, crude strokes. I t is
worth taking time to get the feel of
your brush. It is a very sensitive tool
M A K E PLEASING DECORATIONS
and as such requires sensitive handling.
After making several pages of the
brush shapes alone, try putting these
shapes together in different arrangements. Then pick out the most pleasing patterns and work on them. So
far, we have been concentrating on
the shape of the brush which is a
good, basic shape. But now it is time
to begin to watch the spaces between
the brush shapes; these should be
equally pleasing. In other words,
watch the relationship of one brush
shape to another--perhaps move one
over a little so it won't crowd others,
or slant some, or overlap them. After
doing several pages of such arrangements, you can expect to see a difference in the quality of your brush
shapes and the designs they make. It
will be more sure, more skillful, more
"right."
I n this brushwork, every stroke or
touch of the brush is an important part
of the design. The stroke may vary in
size and in thickness, but it must be
good in itself and in relation to the
one next to it. You should use only
as many strokes as you need for the
effect you w a n t - - n o more; otherwise,
the beauty of the individual stroke is
lost.
Technically speaking, you are work-
EFFECTIVE DECORATIONS can come from brush shapes alone, or
in combination with lines. The practice poffery shown here runs the
ing with mass. You are arranging the
shape or mass of the brush stroke into
patterns. The patterns can be entirely
simple, but they can also become
highly complex and intricate. In either
case, they can be beautiful. Try carrying the design from the simple to varying degrees of complexity. At some
point, it will undoubtedly become so
complex that the overall pattern will
be lost and the design will become
chaotic, meaningless. This is the common danger: a design can be overworked, carried too far. When to stop
- - h o w to know when you have
reached the maximum e f f e c t - is a
problem the artist faces every time he
does a piece of work.
Arrangements of the simple brush
shape need not be confined to abstract designs. By combining the shape
in different ways, you can make flowers, insects, leaves--just about anything you like. And if you add just a
straight, or slightly curved, line to the
mass, you will have considerably more
freedom in design possibilities. Try
combining the brush shape (the mass)
and a short, straight line and discover
all the potentials of these two simple
elements. Arrange two of the shapes
with a line, then three of the shapes,
(Please turn to Page 36)
gamut from simple fo complex: an easy arrangement of five, below
left: added flavor from a line, above: floral arrangement, below.
PRACTICE
ASSIGNMENTS
BRUSH SHAPES ALONE
V Y V
V v V ,,L
i~/o.-
d~
FIRST master the brush shape itself, then
try arrangements of various groups of two;
then groups of three: then four; etc. . .
SLIHNAESq~,
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PLSUSq"m
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~
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THEN plan designs including lines. Start
with a single shape and °ne line; gr°up s
and one line; two or more lines; e t c . . .
IDEAS FROM NATURE
NOW test your skill at suggesting motifs
from nature. Keep them loose! Try leaves;
flowers: insects; then combinations; etc . . . .
NALLY sketch pottery shapes and rough in
~signs. Be generous with your decorative
eas. Don't make them small and timid!
ING
ON
)TTER'S
WHEEL
4 SELLERS
MPIIIIN
person who
A
is not a potter is apt to think
the bottle is the
most
difficult
shape of all to
throw. But this
is not actually
the case. A bottle
does r e q u i r e
more
patience
and more coaxing of the clay than the
particular shapes previously discussed
m this series. There is no great problem, however, when you know the
principles involved, and put them into
practice.
Usually, a bottle is made by throwing a basic cylinder, shaping the lower
section (the body of the bottle), and
then constricting the upper section to
form the shoulder and the neck.
The constricting part of the process
is perhaps the more involved. But even
the beginner on the wheel has probably already had some experience in
constricting because this has to be
done when you make a pitcher (CM,
March 1955) or when a shape has
flared more than you intended (Sept.
1954). Making the neck o/ a bottle
requ,res the same constricting techn i q u e - e x c e p t to a greater degree.
Then, after each constriction, the wall
is pulled up again because the closingin operation thickens the clay and
often creates wrinkles in it. The
counterplay of constricting and pulling
up is repeated several times until the
shape desired has been achieved.
Let's watch the step-by-step demonstration.
1. In throwing the basic cylinder
shape for a bottle, the lump of clav
is centered, then opened in the usual
way with the thumbs pressing down at
the center of the lump. But, because a
rather large amount of clay is involved, the inside diameter of the base
is established with the fingers instead
of the thumbs. Firmly grasping the
Pi
thick wall of clay, the fingers pull it
out carefully from the center until the
base is as wide as desired. The wall
is then raised. Now and throughout
the process, the top rim is not allowed
to develop any flare. If a normal amount of clay is used, open with the
thumbs as you usually do.
2. The swell of the body of the
bottle is indicated, and then the constriction of the top section which will
provide the neck is started. The wall
is grasped very lightly at a point below
the area where constriction is actually
to begin. The hands are moved up toward the area with the grasp tightening to close in the shape. The left forefinger rides high above, keeping the
wall in control. Both hands and clay
are kept well lubricated.
3. Now the wall, which has been
thickened and perhaps wrinkled, must
be pulled up again. The fingers are
set slightly below the constricted area
on the inside and outside, then moved
THIS COLLECTION of baffles and iars with necks is ÷he work of
the author. Shown in the insets are two prize winners from the 1954 Syracuse Museum
"Ceramic National": this page--9"H
bottle, Hul Ka Kwong,
Brooklyn, N.Y.: facing page--12"H sphere, Harvey Litfleton, Verona, Wise.
16
CERAMICS MONTHLY
rLE
up with increasing pressure as they
approach the worked-over area. I n the
process, the pressures between the
fingers on the inside and those on the
outside determine the shape of the
shoulder.
4, 5, 6. The process of alternately
constricting and pulling up the wall
continues. Each repetition of this
double play has a part in narrowing
the neck as well as in determining
the final shape of the bottle.
7. T h e wrinkles created in constricting and consequent variation in
the thickness of the clay have resulted
in an uneven rim at the top of the
piece. If allowed to remain it will
cause trouble later so a small section
at the top is cut off leaving a level
rim.
8. The neck has taken shape and
the hand can no longer reach inside
the pot to remove the water used for
lubrication. So a
long stick with a
piece of sponge
tied to the end
is inserted f o r
the
purpose.
Later, when the
neck becomes so
small that even
this device won't
work w i t h o u t
ruining the shape, great care has to
be taken not to dribble any more
water on the inside: if further inside
work is done, the finger only will be
lubricated.
9. When the neck has been constricted for the last time, and the
bottle design completed, the outside
surface is sponged and the bottle cut
from the wheel to be set away for drying to the leather-hard stage. (Before
the piece is cut from the wheel, excess
clay which may have been left at the
bottom for support may be trimmed
off. This step is particularly desirable
if the bottle is not to be foot rimmed.)
I0. In preparation for foot rimruing, the leather-hard bottle is inverted and set in a chuck, resting on
its shoulder line. Getting down at eye
(Please turn to Page 28)
MAY, 1956
The bottle shape is not a difficult one to
throw, states the author; but there are a
few fine points to be mastered.
A bottle usually starts as a cylinder; the
neck and shoulder are made by alternately
constricting
and pulling up the wall.
Full
details an the throwing procedures are given
in the text and in the photos above.
A
demonstration of cuffing +he foot rim (page
28) is also included.
17
ROCKING
\
,J
these
round-bott
move
back
and
at the
slightest
yet
the
content,
by MARY KRETSINGER
lthough traditional
forming clay into
A
be ignored in favor of
NO FOOT: Without the usual support of a foot, the bowls simply
balance at one paint. They appear fo be suspended.
SELF-CONTAINED: All except the
perfectly symmetrical shape
(opposite page, bottom)
will hold even liquid without spilling.
18
TECHNIQUE: The bowls are really
pinchpots with some carving
after the basic form is reached.
In size, they range up to 7" x S ' .
methods of
pots cannot
newer techniques, m a n y a potter enjoys experimenting with the material. This is
the way he discovers different and
varied ways of expressing the natural
qualities of clay - - the plasticity and
color which are suggestive of its earth
origins.
While modeling small three-dimensional forms suitable for testing glazes,
I became interested in experimenting
with containers which are basically
sculptural in that they are formed
freely, or modeled, by hand. Subjects
taken directly from nature - - smooth
pebbles, rocks, small pieces of polished wood and other materials beaten
or shaped by the forces of nature - intrigue me as much as they do other
artists. Such subjects, therefore, became my source of inspiration for the
creation of the clay shapes shown on
these pages.
These objects would hardly be
called "bowls" in the traditional sense,
for they lack the customary foot which
stabilizes a bowl. Most of them are
entirely self-contained visually as well
as structurally. Without the support
of a foot, they simply are balanced
at one point so that they move back
and forth at the slightest touch, and
appear to be suspended above the
flat surface on which they rest.
T h e one hemispherical shape shown
in motion, above, and at a standstill,
bottom right, is perfectly balanced:
being perfectly symmetrical, it would
not look right to me if it were offCERAMICS MONTHLY
IS
pinchpots
h
,,er
spill
IN M O T I O N : This is the perfectly balanced shape the author calls a "trap." No matter how much it is rocked,
objects placed inside will not fall out.
balance. (Perfect equilibrium, however, is not easily achieved. It may
be there when the piece is bone dry
but lost through warping in the bisque firing, or it may be lost in the
glaze firing!) Inside each pot of this
shape I place a small ceramic "stone"
which rattles around when the bowl
rocks - - no matter how much rocking, the stone stays in. When I first
made bowls of this particular type,
I called them "traps" and the name,
seeming appropriate, has stuck.
As containers, all of my rocking
pots (except the traps) function as
well with liquid in them as with food
for an effort has been made to make
the interior space so self-contained
that contents cannot spill, slide, fall
or crawl out even when the bowl is
tipped.
The biggest of the bowls is 7" x 5";
one of the small podlike bowls is
about 3" long. All were formed by
pinching. Using a large ball of clay
and beginning with thumb-in-center,
I pushed out the walI in the traditional pinchpot method. When the
piece was leather hard, shaping with
a saw-toothed metal tool began. You
might say the inside was pinched, the
outside carved: in some cases, more
pinching than carving; in other cases,
more carving. Basically, however, the
technique is pinching.
Interiors were glazed in brilliant
hues; exteriors for the most part were
left the natural color of the clay or
decorated in the sgraffito or mishima
technique.
Preventing loss from cracking durMAY, 1956
ing the drying of the green ware is the
problem in creating objects of such
varied wall thickness as these. Drying must be a long, slow process. I
used a red-firing Indiana clay which,
although too short [not plastic
enough] for wheelwork, was perfect
for my needs because it absorbed
water readily but dried uniformly. If,
as often happened during the drying
period, it became evident that a wall
was drying faster in thinner areas
than in thicker areas, I would wrap
the whole piece in wet, well-wrungout cloths for a short time. Enough
moisture would be absorbed by the
piece to salvage it from cracking without my having to use the spongingdown method which might disturb
a delicate sgraffito design. The piece
was then wrapped in several dry
cloths. As these absorbed moisture
from the pot during the drying period,
they were exchanged for drier cloths.
Finally, the piece was air dried.
Once a piece was brought successfully through a bisque firing to
cone 08, the glaze firing presented
few problems. In this firing, I lost
no pots from cracking. I used glazes
which mature at cone 04 and each
finished piece is good, ringing earthenware.
While my rocking pots are certainly not classical and might be called too self-conscious by many potters, I feel that they are a valid expression of the material. I feel also
that I have only begun to tap
the expressive possibilities of the
technique. •
FISH BOWL with a curve in the
tail serves as an ashtray.
It's 3" deep.
N O T EASY: Perfect balance of
this "trap" (shown above in
motion) is not easily come by.
19
for pottery and sculpture
slab building..,
in a t w o - p i e c e m o l d
by MURIEL ANDERSON
Any type of two-piece m o l d - - t h e
same molds used for slip casting-lends itself to this technique for making slab-built pottery or developing
sculptured forms. Instead of throwing
out a worn mold that has a pitted or
scratched face, or just doesn't produce
good casts any more, you'd better
hang onto it; it may be a shape that
can turn into almost anything if you
try the approach described here.--Ed.
Photo: The Milwaukee Jourmd
fter examining some of Irene
A
Kilmurry's press-mold sculpture
at a recent local exhibit we were too
intrigued to drop the subject.
"What do you mean, press-mold
sculpture?" we asked her that evening by telephone.
"Why don't you come out to the
studio," she suggested, "and then you
can really see how it's done. It's a
lot of fun."
San Damiano Studio, at Cardinal
Stritch College in Milwaukee, is a
fascinating place to visit. Mrs. Kilmurry has been a member of the art
faculty at the college for the past
eight years. She
teaches a variety of
subjects including
pottery and sculpture, w e a v i n g ,
metals and jewelry.
There are always
dozens of interesting projects going
on. This trip was
strictly for the purpose of finding out
about press - mold
sculpture so your
reporter w a l k e d
resolutely past all
manner of other intriguing things into
the ceramics room. It proved to be
well worth our undivided attention.
"First you decide on your basic
shape," Irene Kilmurry told us. " I t
may be one of the geometric shapes,
perhaps a circle or semi-circle or rectangle. Maybe you would like to use
a cone shape or perhaps one of the
simple amoeboid shapes." She got out
the cone-shaped plaster mold which
she has used for many of her ceramic
animals and got to work. " I t is important to try to visualize the various
animals, figures, etc., that would
logically lend themselves to this shape.
Keep them simple. Remember that
over-elaboration of the basic shape
destroys the simplicity of form necessary to good sculpture."
This made us think of the many
items which have disturbed us designwise and we began to understand why.
It is absolutely essential to be true to
your basic form. Too many people
forget this. They take a cone shape,
for instance, and add pieces that
camouflage its basic shape. This only
tends to make the finished product
confusing to the viewer. It is much
the same with an architect. When he
enlarges an already-built house or enhances it he stays within the limits of
Pi.~: ,s: .ro;;n
Ahlh.n~:=r
"Kangeroo", a favorite
in Irene Kilmurry's exhibits, sprang from the
two-piece mold at right.
20
CERAMICS MONTHLY
,
-
,.:
Simple lwo-piece mold
(shown below) was used
to slab build the vase
and also to give "Bird"
and "Pig" their start.
~.........
the original architecture if he is smart.
If he doesn't do this the house is
never quite pleasing to the eye.
The first step toward press-mold
sculpture is to roll the clay out (the
right thickness, we learned, depends
on the size of the piece to be made).
Divide the slab into two parts and
place one in each half of the mold,
working it in gently so that it follows
the contour of the plaster.
Next, trim off excess clay and brush
heavy slip along the edges of clay
which will be pressed together.
Now put the mold halves together
and press firmly. Give the clay time
to set, separate the mold, and there is
the clay form in one unit, securely
welded at the seams.
From this basic shape you are ready
to build whatever you choose; add a
head, tail, legs, feet, etc. You can
build up figures, animals or birds in
an easy orderly fashion. The basic
shape Mrs. Kilmurry started with
and the extremities she added are
shown in the line drawings.
The parts you add must be put on
with a heavy slip and worked well
into the body so that both will adhere
to each other. Any attachments such
as a head or feet, that would be rather
thick in themselves, must be hollowed
out. This is extremely important to
the firing process. There must be a
little hole somewhere in the basic
H O W IT'S DONE is shown by Mrs. Kilmurry (left). Clay slabs are
pressed into the mold. Thick sllp is brushed on the top surface:
MAY, 1956
shape as well as in any large added
parts so that there will be a continuous air flow throughout the entire
piece, or it may burst in the firing
process.
Finished pieces can be glazed or
unglazed, whichever you feel would be
more suitable to the material used.
We were certainly glad we hadn't
stopped with viewing the pieces in the
exhibition but that we explored pressmold sculpture at San Damiano
Studio. There are so many exciting
things to see and learn about out
there that we're already thinking
about the next trip to watch Irene
Kilmurry at work. •
and the mold is closed. When leather hard, the shape is removed.
Now it is a vase - - but it can easily become a piece of sculpture[
21
~ENAMELS
LINK BRACFLETS Fasy to
ike any other piece of jewelry,
an enameled bracelet should fit
L
properly and feel very comfortable
when worn. My personal preference
in a bracelet, for example, is one that
is shaped to the arm and worn halfway between wrist and elbow; this
means it has to be so designed that
when pushed into place it will stay
there and not slide down or dangle.
On the other hand, many people prefer a bracelet designed to be worn
loose on the arm. Comfort and fit,
therefore, are two factors which have
to be taken into consideration when
a bracelet is being designed.
All the metal shapes, including links
and clasps, that may be needed for a
bracelet may be formed by hand. But
the beginner, at least, will find it
easier to use the ready-made connectors--links or jump rings, clasps
or spring-ring fasteners - - that are
available commercially.
Bracelet blanks may be purchased,
too, and the beginner may want to
try some of these before embarking on
his own design. One of the simplest
blanks is a series of connected bases
which form the backbone of the
bracelet (see top photo, below left):
you cut out sections of copper (or
buy them pre-cut), enamel and attach
them to the blank with solder or
cement. Blanks come in a variety of
sizes and finishes; and matching neck-
lace blanks may also be had if desired. Also available are pre-cut shapes
with slots for links already sawed out.
The final results, of course, depend
on how good the design is basically
and how well the enameling is done.
In making a link bracelet, parts
that come in direct contact with each
other should be enamel-free on both
the under and top sides. This is most
important for the enamel will chip if
rubbed by moving parts. All points
of contact, therefore, are cleaned of
enamel before firing; after firing, they
are stoned well back from the edge to
expose a polished metal rim. The parts
can then ease in and out of position
without straining the enamel.
All too often the treatment of connecting links and clasps is overlooked
in the initial designing, leaving much
to be desired in the finished product.
It is frequently advisable, for example, to enamel connectors as part
of the whole color scheme. Tarnished
copper may not complement the
enamel colors very well (unless planned for in the design), and it is not
practical to try to keep them polished.
In the demonstration on these
pages we show the construction of a
imple yet effective link bracelet, beginning with the paper pattern and
ending with the joining of the links.
Two-and-one-fourth-inches wide, this
bracelet is designed to be worn half-
Make---Comfor
way up the forearm, clasping the arm
firmly.
1. To arrive at an accurate pattern
for the bracelet, a slightly curving
strip is cut from a sheet of paper and
tried on the arm for fit. The ends of
the strip are not brought together
because allowance must be made for
inserting clasps.
2. When size and shape are satisfactory, the paper strip is laid out flat
and divided into the number of sections desired for the bracelet--in this
case, five. (The division may vary
widely depending on the individual
design; the narrower the sections, the
less they need be shaoed to clasp the
arm. )
The connecting links must also be
allowed for. An actual link is used
for the measure (whether bought or
homemade, the links should already
be on hand for just this purpose).
The space the links will require is
taken equally from the five sections,
thereby reducing the size of each one.
Slots for the links are carefully marked
(about 1/16-inch from the edge).
With the pattern for the bracelet thus
worked out on paper, the colors and
the enameling design may be sketched
in.
3. The copper to be used is 20gauge because, being lighter in weight,
BLANKS may be purchased and two types are
shown above: top photo--sections and base structure to which they are cemented: bottom--shapes
and links. At right: demonstration bracelet.
22
CERAMICS MONTHLY
to Wear
it will be more comfortable to wear.
Before cutting, it is annealed (preheated) to prevent warping; the firescale that forms in the process is a
nuisance but annealed metal will cut
more easily.
T h e bracelet sections are traced on
the copper, cut out and flattened with
a rawhide mallet against a hard metal
surface.
1. Pattern in the making is tried on for
fit. Space is provided to accommodate clasp.
2. Paper strip is divided in equal
with space for links to complete
3. Five sections which comprise bracelet are
traced on copper and cut out with shears.
4. All of the pieces are clamped together
in a vice and filed simultaneously.
S. A hole is drilled at the center of each
area where a slot for a llnk is to be made.
6. Slots are cut out with a jeweler's saw.
Now the sections are ready for enameling.
sections
pattern.
4. Filing the edges of all the sections simultaneously will save time
and result in uniform sha'~es, so the
sections are clamped together, placed
in a vice and filed smooth. T h e n they
are laid out separately on a hard
steel surface and planished; that is,
both sides of each piece are h a m m e r ed lightly with a flat-surfaced hammer for several minutes to harden
the copper and further protect it
against warping.
5. The slots for the links must line
up perfectlv. Each one is carefully
traced from the paper pattern onto
the copper and then inscribed with
a pointed tool so it won't rub off.
Slots usually measure about 1/16inch wide. A small drill, no larger
than 1/16-inch, is used to drill a hole
in the area marked for each slot (during the operation, the piece is taped
down to keep it from spinning).
6. T h e slots are cut out with a
jeweler's saw blade. This is the way
it works. The piece of copper is
clamped in a vice with the saw blade
inserted through one of the drilled
holes. T h e blade is tightened and
brought down one side of the slot;
at the corners, the sawing strokes are
kept rapid and short to prevent the
blade from sticking. T h e position of
the piece of copper has to be shifted
numerous times, of course, in the
process of cutting out all the slots.
Any rough spots that develop from
the sawing are smoothed down with
a tiny Swiss file before the piece is
removed from the vice.
After the slot-cuttlng, the pieces are
laid on a hard surface and shaped
into a slightly curved form which will
fit the a r m easily. This is done with
a rawhide mallet, and the metal is
stretched, rather than bent, to shape.
Now the sections are ready for
enameling. First, the backs are
counterenameled; then, to prevent
(Please turn to Pa~e 30)
MAY,
1956
..........................
~
:~,:~:~::~
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..............................................
.........
:
}
:
7. Links may be enameled, too, carrying out
the dominating color scheme of the bracelet.
8. In place, each link may be soldered at
the joint to give greater holding strength.
23
A MOLD FOR S O L I D CASTING
The Plaster Series
by DOROTHY PERKINS
2
:1
C
• I~~ ~
0
~
~!i:i:i:ii:iii:iiiii)i:il
:
t~
Lyle Perkins {2}; and ArChur Roy (3).
When you want a mold [or casting pottery o[ varied wall thickness such as the
finished pieces shown here, the solid-cast
mold is the answer. How to make this
type of mold is described below by the
author whose articles on models and
molds ( " T h e Plaster Series") have been
appearing periodically in C M since February, 1955. In the next issue, she will
give instructions on finishing and using
the mold. Ed.
~
olid casting differs from drain
casting in that it allows for
variations in the wall thickness of pottery forms. Drain-cast molds have
only one working surface; casts from
such molds therefore have uniform
wall thickness throughout. Solid-cast
molds, however, have two working
surfaces: one forms the back of a
piece, the other the front. With these
two surfaces drawing water from cast24
ing slip, the cast form becomes "solid"
which means there is no open space
between the front and back surfaces
of the cast.
Although the form used here for
demonstration purposes happens to
be an irregular (off-round) shape,
the solid-cast type of mold is in no
way limited to asymmetrical forms.
Like jiggering, solid casting allows
for differing inside and outside contours on round shapes. In fact, the
pin template described previously in
C M (Apr., May, June, July, 1955)
may be used to form round models
for solid-cast molds; in that case,
two templates would be used - - one
to form the inside and one to form
the outside of the model.
In designing a form for solid casting several factors require consideration :
a. T h e inside shape must not be so
steep (have so much "draft") that
the cast form will not release from
the hump.
b. Viewing the model from either
front or back, there must be no
undercuts for these would prevent removing the cast from the mold without damage.
c. T h e slip-entry in the mold must
be at the point where the cross section of the shape is thickest; thus, in
the mold to be made here, the entry
will be at the back though not directly at the bottom of the clay form. This
does not mean that the thickest portion need always be at the back of
the form. T h e model might be thickest at one end, in which case the
entry could be at that end, at the
seam line. Or, if the rim edge were
the thickest part, the entry or entries
could be in the front half of the
(Please turn to Page 37)
CERAMICS
MONTHLY
briefs...
Ceramic Accessories
by DOROTHY GAINES
A c e r a m i c p e n d a n t s t r u n g on a l e a t h e r t h o n g a n d
m a t c h i n g e a r r i n g s , a belt composed of c e r a m i c pieces laced
to suede l e a t h e r , ceramic b u t t o n s w i t h e a r r i n g s of t h e s a m e
d e s i g n - - t h e s e , you m i g h t say, are m y stock in t r a d e f o r
I derive n o t only p l e a s u r e b u t profit f r o m m a k i n g accessories of this type.
The a n c i e n t decorative a r t s of t h e I n d i a n s - - M a y a n ,
Incan, S o u t h w e s t a n d o t h e r s - - a r e o f t e n t h e source of m y
d e s i g n ideas. The d e c o r a t i n g m a y be done in u n d e r g l a z e
or glaze; a n d f r e q u e n t l y it is developed f u r t h e r w i t h
sgraffito.
Design comes first in m a k i n g t h e accessories. I w o r k
the design o u t on p a p e r and, since clay s h r i n k s in firing,
the d e s i g n is a h v a y s m a d e a little l a r g e r t h a n it is to be
in t h e finished piece.
T h e n I cut a p a t t e r n f o r the s h a p e f r o m t h e w a x e d
c a r d b o a r d of an e m p t y m i l k c a r t o n . I f t h e p a r t i c u l a r piece
calls fro' a l e a t h e r t h o n g or lacing, t h e place w h e r e it is
to go is m a r k e d on the p a t t e r n w i t h p i n p o i n t holes.
The piece is cut f r o m a slab of clay a b o u t o n e - e i g h t h
inch thick. If holes f o r lacing are indicated, t h e s e a r e m a d e
with a r o u n d t o o t h p i c k which can be t w i r l e d as it is p u s h e d
t h r o u g h t h e s t i l l - m o i s t clay. F o r d r y i n g , fiat pieces are
placed b e t w e e n b a t s to keep t h e m f r o m w a r p i n g . Belt
buckles, however, need to be c u r v e d s l i g h t l y to clasp t h e
w a i s t so t h e s e are f a s t e n e d to t h e side of a crock or t i n
can w i t h a s t r i p of cloth to hold t h e m in place u n t i l s h a p e d
and dry.
A f t e r g r e e n w a r e h a s dried, I s p o n g e it l i g h t l y to
smooth t h e edges; a n d t h e n d e c o r a t e - - t h e m o s t e x c i t i n g
p a r t of t h e process.
The e a r r i n g s t h a t I m a k e a r e of b o t h t h e b u t t o n a n d
p e n d a n t type. W h e n it comes to g l a z i n g , I do n o t c o v e r
the backs of t h e b u t t o n s b e c a u s e t h e c e m e n t e d - o n finding
will hold n m c h more s e c u r e l y to b i s q u e t h a n to glaze. I dip
the p e n d a n t e a r r i n g s in glaze f o r a l l o v e r c o v e r i n g : t h i s is
made easy to do by b e n d i n g a h a i r p i n into a IV s h a p e a n d
h a n g i n g t h e p a i r of e a r r i n g s f r o m t h e V's t h u s f o r m e d .
F o r firing, t h e s e pieces a r e s t r u n g on n i c h r o m e w i r e like
b e a d s so t h a t t h e r e will be no s t i l t m a r k s .
F i n d i n g s a n d c e m e n t f o r t h e j e w e l r y are e a s i l y obt a i n e d f r o m s u p p l y houses, a n d t h e l e a t h e r l a c i n g s I use
come by t h e y a r d f r o m l e a t h e r a n d h o b b y shops.
In belts m a d e u p of s e v e r a l ceramic sections, I lace
t h e finished pieces to a s t r i p of suede l e a t h e r . T h i s s t r i p is
f r o m a n inch to a n i n c h - a n d - a - h a l f wide d e p e n d i n g on t h e
size of t h e c e r a m i c pieces. I t is a b o u t fifty inches long, a n d
I cut v e r y l o n g f r i n g e s a t t h e ends so t h e belt will lie g r a c e fully w h e n tied. ( I n s e c t i o n a l belts, b y the way, you c a n
s a v e t h e w o r k of l a c i n g if each c e r a m i c p a r t is m a d e w i t h
two slots so t h a t it c a n be slid onto t h e l e a t h e r like a buckle;
but t h e d e s i g n would h a v e to be such as w o u l d n o t be
d e s t r o y e d b y h a v i n g t h e c e n t e r covered.)
A s I said e a r l i e r , m a k i n g " m y k i n d " of a c c e s s o r i e s
gives m e f u n a n d profit. T h e a m o u n t of t i m e a n d m a t e r i a l
involved is v e r y s m a l l c o m p a r e d to t h e s a t i s f a c t i o n of des i g n i n g a n d e x e c u t i n g t h e i t e m s . - - F l a g s t a f f , Ariz.
~!i~ii~i~i~!~!!~ ¸
~
i¸
iiiii~iiii!!!!!i
MAY, 1956
25
For Your Library....
FlorenceCowCeramicStudio
543
Boulevard
KENILWORTH, N.J.
M a y 1, 1956
D e a r Fellow C e r a m i s t s ,
T h e r e a r e so m a n y t h i n g s I w a n t to s a y to each
of you t h a t I feel a n open l e t t e r will be the b e s t
w a y of a c c o m p l i s h i n g this.
You m a y r e m e m b e r t h a t l a s t M a y I did n o t go
into t h e E a s t e r n C e r a m i c Show b e c a u s e m y
h u s b a n d a n d I a t t e n d e d o u r son's w e d d i n g in
Texas. Because o u r first g r a n d c h i l d is e x p e c t e d
to a r r i v e s o m e t i m e t h i s M a y we will a g a i n be in
T e x a s a n d t h e r e f o r e will be u n a b l e to p a r t i c i p a t e
in t h i s y e a r ' s show. M y Studio will be open as
u s u a l a n d if you c a n stop in f o r a visit we m a y
still be here.
A s a R e p r e s e n t a t i v e f o r Nils C e d e r b o r g A s s o ciates, M a n u f a c t u r e r s of " R e n a i s s a n c e " P r o d u c t s ,
I h a v e b e e n a u t h o r i z e d to offer n e w a n d l a r g e r
discounts to S u b - d i s t r i b u t o r s a n d to c o n t i n u e m y
u s u a l discounts to Dealers. W r i t e f o r i n f o r m a t i o n
on t h e s e discounts.
Because t h e H o l l a n d Mold Shop, m a n u f a c t u r e r
of m y molds to date, c a n no l o n g e r s t o r e Blocks
a n d Cases o t h e r t h a n t h e i r own, I h a v e been
f o r c e d to r e m o v e m i n e a n d dispose of t h e m . U n f o r t u n a t e l y , m y 5,500 s q u a r e f e e t of studio space
is not e n o u g h f o r m a n u f a c t u r i n g molds, too.
I a m h a p p y to r e p o r t t h a t J u c k e y P i e p e r of Piep e r P o t t e r y , W e s t Caldwell, N. J., h a s p u r c h a s e d
the Blocks a n d Cases of t h e COX E X C L U S I V E
M O L D S a n d will c o n t i n u e to m a n u f a c t u r e t h e m
in h e r n a m e . Good luck, J u c k e y .
Since E r i c Gort, f o r w h o s e m o l d s I h a v e b e e n t h e
N a t i o n a l D i s t r i b u t o r , h a s l e f t t h e C e r a m i c Ind u s t r y a n d no l o n g e r c o n t r o l s t h e p r o d u c t i o n of
his molds, I a m d i s c o n t i n u i n g t h e d i s t r i b u t i o n
of t h e s e molds. E l i m i n a t i n g t h e COX E X C L U S I V E a n d G O R T M O L D S will e n a b l e m e to give
m o r e t i m e a n d m o r e s p a c e to m y r a p i d l y inc r e a s i n g W H O L E S A L E A N D R E T A I L business.
AVAILABLE THROUGH THE
BOOK DEPARTMENT
N e v e r before h a s the s u b j e c t of glazes been t r e a t e d so
completely in a single volume. T h e 314 p a g e s of t e c h n i c a l
t e x t covers g l a z e m a k i n g f r o m t h e g r o u n d up, s t a r t i n g w i t h
a c a r e f u l discussion of t h e r a w m a t e r i a l s . A l r e a d y in its
second p r i n t i n g , t h e book is a n i n v a l u a b l e t e a c h i n g , l e a r n ing a n d r e f e r e n c e source f o r a d v a n c e d h o b b y potters, serious s t u d e n t s , t e a c h e r s a n d p r o f e s s i o n a l potters.
T h e c h a p t e r h e a d i n g s m o r e t h a n a d e q u a t e l y describe
the c o n t e n t s :
Definition of G l a z e s - - G l a z e
Materials--Calculations-M i x i n g a n d M i l l i n g - - A p p l i c a t i o n - - Conversion of t h e
B a t c h to t h e Glaze - - L e a d l e s s Glazes - - F r i t t e d G l a z e s - R a w - L e a d Glazes - - E n g o b e s , Slips, a n d U n d e r s l i p s - U n d e r g l a z e s a n d O v e r g l a z e Colors - - Glaze Defects.
I n a d d i t i o n to t h e t h e o r e t i c a l a n d t e c h n i c a l contents,
t h e t e x t i n c l u d e s specific e m p i r i c a l f o r m u l a s a n d b a t c h
recipes f o r glazes - - r a w a n d f r i t t e d ; h i g h a n d low t e m p e r a t u r e ; glossy a n d m a t ; c r y s t a l l i n e ; a v e n t u r i n e ; etc.
T h i s h a n d s o m e l y bound book c o n t a i n s e i g h t p a g e of
c r o s s - r e f e r e n c e d index, a d d i n g i m m e a s u r a b l y to its v a l u e
as a source of r e f e r e n c e .
Price $8.00
D o n ' t f o r g e t t h e o t h e r fine p r o d u c t s I d i s t r i b u t e
a n d be s u r e to w r i t e f o r m o r e i n f o r m a t i o n a n d
D e a l e r ' s d i s c o u n t s on T r u - F y r e , Wonfire, L & L
Kilns, Double B. Wood Tools, Gold E r a s e r s , etc.
Sincerely,
F l o r e n c e F o x Cox
( w e pay p o s t a g e )
ORDER FORM
Ceramics Monthly Book D e p a r t m e n t
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26
...........
CERAMICS MONTHLY
C briefs
Ordinary wax crayons--the
kind t h e children use to do
their colorings--have worked
v e r y well f o r me as a w a x r e s i s t m e d i u m w h e n I decorate p o t t e r y . U s e d as t h e y are,
in t h e " d r y " f o r m , t h e y do
t h e job quickly, easily and a t
little cost. W h e n not in use, t h e y can be s t o r e d c o n v e n i e n t l y
in the r e f r i g e r a t o r so t h e y will not m e l t or w a r p .
The c r a y o n s s e r v e the p u r p o s e of a n y o t h e r w a x - r e s i s t
m a t e r i a l - - t h e y are used to eover a r e a s a n d d e s i g n s which
you w a n t to p r o t e c t f r o m a glaze applied overall. The glaze
will not a d h e r e to the w a x - c o v e r e d p o r t i o n s and t h e w a x
b u r n s out in the firing.
I use the c r a y o n s well s h a r p e n e d ( t h e color does not
m a t t e r ) and go over m y d e s i g n two or t h r e e t i m e s until it
is covered w i t h a u n i f o r m , thick l a y e r of wax. The f o o t
of t h e piece is also covered so t h a t t h e g l a z e will not stick
in this area, e l i m i n a t i n g t h e need f o r stilting. T h e n t h e piece
is s p o n g e d l i g h t l y to r e m o v e c r a y o n c r u m b s and to p r e p a r e
the s u r f a c e f o r glazing. The piece is t h e n g l a z e d overall (by
dipping, b r u s h i n g or s p r a y i n g ) .
(In m y own work, I use a red clay body and a w h i t e
or t h i n glaze to cover. W h e n t h e piece is fired, t h e d a r k des i g n is an effective c o n t r a s t w i t h t h e l i g h t b a c k g r o u n d .
S o m e t i m e s , to v a r y the effect a n d s o f t e n the outlines, I
b r u s h on oxide color such as P r u s s i a n g r e e n on t h e a r e a s
w h e r e the w a x h a s b u r n e d off.)
Since the c r a y o n s a r e s h a r p e n e d f r e q u e n t l y , s c r a p s
accumulate but t h e s e are not w a s t e d : I save t h e m to m a k e
a liquid-crayon wax. W h e n u s i n g the w a x r e s i s t in t h i s
f o r m , I place a tin of s c r a p s (plus a p o r t i o n of c r a y o n if
needed) and the piece to be d e c o r a t e d on a n a s b e s t o s pad
set over an electric hot plate. The idea is n o t only to m e l t
the crayon s c r a p s but to h a v e t h e p o t t e r y as w a r m to t h e
touch as I can s t a n d it: t h e n the h o t w a x will not cool w h e n
it comes in c o n t a c t w i t h the s u r f a c e . The a s b e s t o s pad
t h a t I use is the kind w i t h a h a n d l e so t h a t w h e n t h e w a x
begins to smoke I can easily lift t h e w o r k off the h o t p l a t e
and set it on an i n v e r t e d pie tin.
The liquid crayon is applied by brush, a n d small a r e a s
or crevices can be m o r e t h o r o u g h l y covered t h a n is possible
w h e n the dry c r a y o n is used. F o r t h i s reason, I s o m e t i m e s
combine the m e t h o d s , doing the m a i n a r e a s w i t h d r y c r a y o n
and t h e n filling in w h e r e needed w i t h the liquid wax.
The liquid f o r m of c r a y o n can also be used over u n d e r glazes w h e n you wish to p r e s e r v e t h e color. In o t h e r words,
children's crayons, in one f o r m or t h e other, can be employed w h e r e v e r you w a n t to resist t h e glaze; in o t h e r
words, keep it f r o m sticking. T h e y h a v e c e r t a i n l y s e r v e d as
a convenient, low-cost, effective w a x r e s i s t f o r i n c . - - P e a r l
Sowden Papez, Columbus, Ohio.
Colored
Crayons as
Wax Resist
\
IDEAL FOR A L L C E R A M I C SPRAY
,lOBS. ELIMINATES SPRAY DUST, ~ ' ~
~lh~f
MASKS, T O X I C FUMES. N O OUTSIDE VENT NEEDED
FOR ALL C E R A M I C HOBBYISTS
Size Open--20" W. 20" H. 23" Deep.
Folds f o r Easy S t o r a g e
AT YOUR
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F.O.B. F A C T O R Y
St{. W G H T . 21 LBS.
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Welded steel c o n s t r u c t i o n . Green
baked e n a m e l finish. P o w e r f u l elect r i c f a n . S t a n d a r d size, low cost
fiber g l a s s filter. C o m p l e t e l y assembled, ready f o r use.
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MONTHLY
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Ceramics Monthly
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Tell others how you do what you do in ceramics! Send your ideas to
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MAY, 1956
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27
Throwing: M a k i n g
"SPEED Y
SPURS"
THE
WARE
MODERN
SUPPORTS
FOR
(Begins on Page 16)
level, as the wheel revolves slowly, the
potter sights along the base of the
bottle to see w h e t h e r it sits level. Its
position is adjusted if necessary; then
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it is secured in the chuck with coils or
keys of clay fastened at the shoulder
line.
N o w the unit is a d j u s t e d on the
wheel h e a d until it is truly centered. T h e test for centering, m a d e
with a rigidly held pencil or stick,
is done up t o w a r d the base of the pot.
11. T h e chuck is then secured to
the wheel h e a d with clay keys. A
b o a r d is p r o p p e d up (if the wheel does
not have built-in supports) to s u p p o r t
the arms in a working position slightly
above the pot. T h e foot is cut in the
usual m a n n e r b u t extreme care is
taken lest the cutting tool dig too
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28
deeply a n d lift the bottle out of the
chuck. W h e n finished, the piece is
sponged lightly, removed from the
chuck and set aside a g a i n to finish
drying.
N O W TIIAT YOI)" I[AVE seen the
bottle-making procedure, a n d before
you try it yourself, it w o u l d be well
to revmw the following pointers: kee l)
them in m i n d when you t h r o w your
bottle.
• . . D o n ' t allow the basic cylinder
to flare; if you do, it will weaken the
wall and m a k e difficulties for you in
the constricting process. A n d d o n ' t try
to constrict too m u c h in any one
motion.
...
Constriction is not the only
factor in shaping tile shoulder and
neck. T h e counter-step of pulling up
the clay does its share, especially in
the forming of the shoulder, as the
fingers on the inside press against the
outside.
• . . If the wall tends to sag at the
shoulder, it probably means you have
thinned the body too m u c h at that
point• T r y again a n d allow for a
thicker wall at that crucial place.
. . . Wrinkles that form during
constricting often result in an uneven
rim at the top after the pulling-up
step. W h e n e v e r this occurs, trim the
top to m a k e it level; otherwise, you
will have serious trouble when you are
working finally at the rim.
• . . In making small-mouthed
pieces, the point comes when you can
no longer reach into the pot with h a n d
a n d sponge to remove the excess of
water used for lubrication. A special
tool for the purpose is a necessity.
This can be a small piece of sponge
tied or wired onto the end of a stiff
metal rod or wooden dowel rod. But
when the neck opening is so small that
even this device cannot be inserted,
care must be taken to prevent any
more water from getting inside.
• . . Cutting a foot rim on a bottle
is more difficult than on pots which
can be inverted directly on the wheel
head. N a r r o w - n e c k e d bottles must be
placed securely in a chuck, then most
carefully t r i m m e d a n d rimmed• Some
potters prefer to dispense with a foot
rim; they finish the pot while it is still
on the wheel after throwing, a n d
simply sponge the bottom clean later
when the piece is leather hard. •
tR'
with our excJusive
Route 38 •
A Bottle
Hainesport, N.J.
A CM Handbook
Just Published!
on Copper Enameling
First Time Offered!
Get Yours Now!
(See inside front cover for details.)
CERAMICS MONTHLY
S. Paul Ward's 20rh Year
If you want commercial results
uestzons
conducted by K E N
use commercial glazes
SMITH
~. I hac'e been using a small electric-drill attachment to
mix and blend clay slips. It is made of aluminum, and I wonder
i/ there is any possibility o/ contamination from this metal.
A. N o n e whatever! T i n y pieces of a l u m i n u m m e t a l cont a m i n a t l n g your slip would be quickly converted into a l u m i n u m
oxide in the kiln. A l u m i n u m oxide is a l r e a d y p r e s e n t in m o s t of
the ceramic materials, a n d an additional, m i n u t e q u a n t i t y would
have no noticeable effect whatever.
Sold through distributors only
California--Most maior studios
San Diego County, Calif.--Conville Ceramics
Detroit, Mich.--Norwest Novelty
Portland, Ore.--Dobe Depot
Dallas, Texas--Norris Studio
~ . H o w can you stilt tiny pieces o[ jewelry in a kiln?
This is no problem with earrings or pins when the backs are
le/t unglazed, but what about beads and pendants that are to
be hung on a string or chain?
A. Pieces t h a t are glazed overall c a n be stilted on wirep o i n t stilts; this will leave tiny m a r k s on the backs, however.
Since each of the pieces would h a v e a hole for stringing, the
a n s w e r is c o m p a r a t i v e l y simple: after glazing, string t h e m on
a nichrozne wire a n d fire t h e m in t h a t m a n n e r . C o m m e r c i a l
bead setters are available, or you c a n m a k e your own by s t r i n g i n g
the wire f r o m two supports ( s u c h as shelf posts) in the kiln.
Be sure to carefully clean the glaze from the holes a n d bevel
a r o u n d each hole on the front a n d back to p r e v e n t the glaze
from clogging the hole a n d / o r sticking to the wire d u r i n g firing
Minneapolis, Minn.--House of Clay
Bradenton, Fla.--Toalecraft Studio
Provo, Utah--Margaret's Shop
St. Louis, Missouri--R. & B. Ceramic Studio
S. PAUL WARD, INC.
" T h e C e r a m i c W h o l e s a l e r of tlm W e s t "
601 MISSION STREET
SOUTH PASADENA, CALIFORNIA
Tels: SYcamore 9-2131 - - PYramid 1-2SS2
~. H o w many different kinds of feldspars must one keep
in his glaze pantry? It seems that each glaze calls [or a different
brand.
A. For the average h o b b y Dotter, one soda spar a n d one
potash spar should prove sufficient. A small a n m u n t of a d j u s t m e n t m i g h t be necessary if you do not use the specific spar
r e c o m m e n d e d in the recipe; however, this is preferable to stocking dozens of different feldspars.
~ . I purchase clay, and a glaze to fit it, from the same
supplier. I have good results when making large pieces. With
jewelry, however, I always get crazing. Can you tell me why?
A. T h e r e are a m u l t i t u d e of reasons for crazing. T h e
one that m i g h t a p p l y in this case is t h a t you m a y be p u t t i n g
too m u c h glaze on these small pieces. It is an easy m a t t e r to
get too thick a layer w h e n b r u s h i n g on successive coats, especially if the pieces h a v e a relief design. T h i c k pools of glaze c a n
cause crazing.
Break some of your crazed jewelry a n d see if the glaze
coating is excessively thick. If it i s - - t h e solution is obvious.
~ . There is a deposit o/ z'ery good clay in a stream bed
near my home. It is quite pure; it has excellent working qualities, and it fires to a very pretty pink color. A t 1500 ° F., however, fumes begin to escape from the kiln, giving off a horrible
odor. At about 1800°F., the fumes change to thick clouds o]
smoke. Is it possible to purify this clay in any way?
A. T h e f u m e s a n d odor m a y be f r o m s u l p h u r , w h i c h is
usually p r e s e n t in surface clays. A n a d d i t i o n of a b o u t 1% b a r i u m
carbonate may help to neutralize the effect of the s u l p h u r .
If you would like to p u r s u e this f u r t h e r , you m i g h t send
a sample of the clay to s o m e o n e w h o does clay testing. H e
could establish definitely w h a t the cause of the p r o b l e m is a n d
also tell you h o w to eliminate it.
J
Ail subscriber inquiries are given individual attention of CM; and, J
out of the many received, those of general interezt are selected
for answer in this column. Direct your inquiries to the Questions
Editor; please enclose a stamped self-addressed envelope.
MAY,
I
1%6
JUST PLUG IN THIS AI,,M,.,,I~, ,1.,, , . m
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Note these specifications: Kantha[ AI Element--Babcock.
Wilcox Fire Brick--lnterlor size 6 x 6 x 41/2 in. 12 Amperes.
Send check or money order to
Dealer ;nauir;e~ invited
UNITEDARTISTMATERIALSCO.
ARTISTS,
32
WEST
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53rd
ST.,
AND
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DISPLAY
YORK
PRODUCTS
19,
N.Y.
29
Enameling: Link Bracelets
eramlc
(Begins on Page 22)
chipping, the areas where the links
will rub (between each slot and the
outer edge of the section) are carefully cleaned of enamel. The pieces
are fired and cleaned in the usual
way, and all ed,,es are stoned well
back, especially in the areas where
rubbing will occur. When the top sides
are enameled (regardless of the design
or technique), the same precautions
against chipping are taken--wiping,
and extra stoning at crucial points.
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ENAMELING
SUPPLIES
New York City
A v e r y l a r g e selection of i n t e r e s t i n g copper s t a m p i n g s a t b i g s a v i n g s . S P E C I A L :
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When writing to advertisers
please mention CM
30
7. For this bracelet, the copper
links are also to be enameled. In use,
these links are bent close together but
if this was done after firing the enamel, cracking would surely result.
They are, therefore, pinched to their
proper shape before any enameling is
done; then, one side of each link is
opened up with pliers just enough to
allow for its being slid later into its
slot in the bracelet section.
A special device for cleaning the
inside surfaces of the links is a bit
of steel wool wound around a small
tool (a tiny file is rough enough to
grip steel wool); with a drop of detergent, it does the cleaning job well.
The underside area at the top of the
links, only, is counterenameled. Softfusing enamel is used for both sides
because too high a temperature or
too long a firing would soften the
copper; and only a thin coat of
enamel is applied. Tops and undersides are fired in one operation.
The clasps for the bracelet can be
made to harmonize with the links.
There are two ways of doing it. A
tiny piece of copper, cut to fit the
top of the clasp, may be enameled
and soldered in place. Or, the clasp
itself may be enameled in much the
same way as were the links a very
thin coat of soft-fuslng enamel and
light firing (a clasp softened too much
in firing would be useless!).
8. After careful stoning and polishing, links and clasps are pressed into
place; the raised side of each link
needing only to be bent down with
the fingernail. Although it is not absolutely necessary, the links may be
soldered at the back for greater
strength: a speck of flux is put along
either side of the crack; a tiny wedge
of flattened solder, as thick and long
as the crack, is pushed into the crack,
then heated for a moment with the
soldering torch.
With soldering done, a bracelet of
practical, strong construction is finished. It will stay where placed when
worn and feel entirely comfortable.
Moreover, it c a n - - a n d this is where
designing and enameling come in--be
a startlingly attractive ornament! •
MATERIALS AND EQUIPMENT
A COMPLETE LINE OF MATERIALS AND
EQUIPMENT AVAILABLE
POTTER'S WHEELS - KILNS - CLAYS
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seeking a publisher
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To the A u t h o r in Search of a Publisher. Tells
how we can publish, p r o m o t e and d i s t r i b u t e
your book. All subjects considered. N e w authors
welcome. W r i t e today f o r Booklet C4. I t ' s free.
V A N T A G E P R E S S , Inc., 120 W. 31 St., N. Y. 1
Salesman
Wanted
To call Oll ceramic studios, art a n d
craft shops, school supply houses,
h o b b y s t o r e s . C o m p l e t e n e w line for
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L e a d i n g M f g . S t a t e t e r r i t o r y req u e s t e d . Box 536 C, 217 7th Ave.,
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New set of 12 D e s i g n s
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324 Passaic Ave., West Caldwell, N.J.
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CERAMICS MONTHLY
ENAMELER'SCOLUMN
New M o l d s . . .
ENAMELING
IN ONE
BOTH
SIDES
FIRING
had to figure out another solution: I
bend a piece of brass or German silver
in the form of my initial and use it to
H o w do you enamel a tray on both
sides in one firing? This is a question
I am asked frequently. When I show
how it is done and people see the
piece emerge from the one firing with
both sides more or less perfect and
nothing fallen off, it never fails to impress like a magician's trick.
But no magic at all is invoh-ed.
Enameling both sides for one firing is
easy to do and saves a lot of time and
work. No waiting for the piece to cool
off as when one side at a time is fired.
No need to pickle off (acid clean) a
heavy coat of firescale before you can
go ahead with the second side. I
always use the one-fire process.
I try to have my trays so constructed
that they can be fired right side up.
Most of them have a ring soldered on
the bottom, this forming a base for
the tray to stand on. For firing, the
tray is set on four little pieces of
asbestos arranged in a square on a
stainless-steel rack.
In case the tray cannot have a
soldered base, I shape it so that the
sides slant enough to permit resting
the piece, with only the rim touching,
on three stainless-steel pyramids wired
to a grill. Sometimes I am confronted
with a given shape which cannot be
fired in either of the ways described.
Since I do not like stilt marks, I have
MAY, 1956
support the tray comfortably during
firing. T h e imprint it leaves on the
bottom of the tray is not an imperfection but a signature!
In other words, having the rest or
support for the piece well prepared in
advance takes you halfway to success.
With that problem off your mind, you
can turn to the enameling. Hold the
tray by the edges as if you intended to
enamel the face. When you have a
secure grip on it, turn your wrist so
that the back of the tray comes up,
spray with g u m solution (this makes
you feel more secure - - I use plain
water), and sift on enamel in a thin
and even layer just heavy enough to
cover the metal completely. Spray
again and sift on another thin layer.
Without letting loose your hold, turn
your wrist back bringing the face of
the tray up again and repeat the
spraying-sifting, spraying-sifting operation on the front side. (If transparent
color is used, apply it in a very even
coat heavy enough to cover the metal
base completely in the first firing: for
good results, it is better to sift opaque
color on in thin layers with firings
between.)
Place the piece ever so carefully on
the rest you have prepared and fire.
With some experience, you will find
it comes out entirely, or nearly, perfect. If it is faulty in spots, just spray,
sift over and fire again until the piece
is fit for a beauty contest. T h a t is all
there is to it!
Do you have a pet subject you would
like discussed by Kathe Berl, in her
inimitable (and informative) style? Send
the details to CM, and we will ask
K. B. to put it "in the works."
originality, utility, exquis;fe beauty
combine fe make famous Ludwig
Schmid mords. Long-tasting molds
that guarantee fine castings retaining the minutesf details. LUDWIG SCHMID MOLDS have
proven sates appeal. $I sent for
our catalog will be refunded on
your first order. If your dealer
does not have our moPds, write us
direct. Be sure to visit our booth
No. 13 af the Ceramic Hobby
Show of 1956 at Asbury Park.
334-Peklngese
350-Sad Puppy
LUDWIG SCHMID
model and mold shop
838 Genesee Street, Trenton 10, N. J.
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Dealer
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invited
31
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Add water to thls magic mud--hand
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Used by potters and instructors in all
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Nine dramatic colors: DARK BLUE,
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The Pottery Workshop
Cripple Creek, Colorado
32
people,
places
MEET OUR AUTHORS:
• Versatile . M a r y
Kretsinger (see her
"Rocking Pots" p. 18)
is a painter as well
as a potter experimenting in various
forms and shapes. She
also creates jewelry in
metal, enamel on copper, and clay and
glaze, examples of
which are shown in such outstanding exhibitions as "American Jewelry and Related
Objects" (now touring the country) and
"National
Decorative Arts-Ceramics" at
Wichita. A graduate of Kansas University
with an M.A. degree in art from the State
University of Iowa, Miss Krefsinger is at
present a member of the art faculty at
Kansas State Teachers College in Emporia.
An art-department colleague of hers, E. L.
Anderson, did the creative and informative
photography which illustrates her article in
this issue. The photographs used in the
cover design are also hls--the results ol
his experiments in reducing photographs
of ceramics to their original components by
means of Kodalifh process film.
• Vera Walkup is the Columbus, O. artist
who confesses that she likes decorating better
than working with clay--although she ;s
adept at hand forming and throwing pottery.
Her decorating lessons (see p. 14) have been
appearing periodically in CM since May,
195S (the issue in which you will find more
defai!s abo,f this author).
Muriel Anderson
Vera Walkup
• In this issue (p. 20) Murlel Anderson
describes Irene Kilmurry's technique ol turn
ing cast pieces into sculpture. The author
is a Milwaukee writer formerly with her
city's Art Institute and now free lancing (for
more about her, see Oct., 195S).
• Dorothy Perkins is the CM Special Contributor whose instructive articles (seep. 24)
have appeared frequently for more than
~hree years. She and her husband, Lyle,
teach ceramics at the Rhode Island School of
Design and betweentimes work for their
doctorates at The Ohio State University. (A
feature story about, not by, Dorothy Perkins
appeared in CM Nov. 1953.)
&
things
• And the Regulars: Jc RebeH (p. 22),
enamefist and painter whc now lives in
Los Angeles and has been writing on jewelry
dnd accessories in CM since June 19SS (see
"CeramActivities" of that date and Dec. for
more details); Tom Sellers (p. 16), professional potter who directs the city's Arts
and Crafts Center at Columbus, O., and
started his throwing series in CM in Sept.
19S4 (see Mar. C / A column).
CERAMIC-ING VACATION SPOTS: Here
are £ome of the summer schools and workshops offering substantial instruction in ceramics for the benefit of teachers, hobbyists
and others who want to work at potting and
enameling during "vacation" time. (Omissions of other schools are due only to lack
of information from the organizations con
corned.)
Rdalgo Allied Arts at Anacorfes on Fidalgo I:land (State of Washington), June 20July 30: James and Nan McKinnell of Archle
Bray Foundation teaching pottery, and Ruth
Peningfon of the University of Washington
teaching metalwork. Write Box 496, Anacortes, Wash. (These details, by the way,
come from Julia V. Crandall of the Orcas
Island Pottery, situated 18 (ferry) miles away
from Anacorfes, which she invites students to
visit. "The state ferries run the most beautiful
wafer trip in the world," she adds.)
Amoco Summer Workshops at the John
Herron Art School IndianapoJis: conducted
by American Art Clay Company for instructors, teachers and occupational therapists:
beglnnin 3 June 11 and running through Aug.
25, two-week workshops in ceramics alternafed wilh one-week :essions in enameling.
Write Amaco, 47]7 W. 16fh St., Indianapolis
24. (Ken Smith, CM's Q & A man as well
cs Amoco official, is in charge of workshops.)
Penlancl School of Handicrafts, PenJand,
N. C : consecutive ~hreeweek terms from
June 4Aug. 25; instruction in ceramics, both
pottery and enameling on metal, included.
Pottery Workshop at North Harley, Province of Quebec: instructor is Gaefan Beaudin, prominent Canadian potter. (Reader Mrs.
P. S. Drumm of Haverfown, Pa., calls our
attention to thls one, reporting that last
year she spent "a most wonderful two weeks"
there.) Write Mr. Beaudin at North Harley.
Cranbrook Academy of Art, Bloomfield
Hills, Mich: June 25-Aug. 4; ceramics courses
by Toshiko Takaezu. Write to the Registrar
for details.
Stonebrook Studio at Ramsey, New Jersey
(at the foothills of the Ramapa Mountains):
special Summer Session and vacatlon--one
week courses in china painting and enameling.
(Please turn to Page 34)
CERAMICS MONTHLY
/ERGLAZE PAGE
THE HOLST NOTEBOOK
They're Different!!
=======================================================
Modern
by ZENA S. HOLST
W h a t is the difference between opal,
mother-o/-pearl, and rainbow luster? The)'
all look alike to me.
T h e r e is not m u c h difference. T h e y
vary according to the m a n u f a c t u r e r
but opal usually contains more blue
a n d green, a n d rainbow m a n y iridescent colors, while mother-of-pearl
is more pinkish. All are similar in
effect.
"I' L i q u i d gold always crackles on m y
art-body ceramics yet I never fire o~'er
018.
You should not china fire art bodies
over 019.
÷ S o m e t i m e s I have driblets of the di[[erent liquid metals left over. Is it all right
to mix these leftovers to.gether?
T h e fluxed a n d unfluxed compounds must not be intermixed; but
otherwise all the metals can be mixed
with each other. A combination of
leftover metals can p r o d u c e some
beautiful bronze effects - sometimes
blue tones and often rose colored.
Green gold can be m a d e by mixing
one part paste silver with two parts
gold. T w o parts silver and one part
gold make quite a serviceable platinum for dinnerware.
F o r new colors, dilute leftover
liquid metals with oil of l a v e n d e r a n d
a d d to lusters. F o r example, there is
a sufficient a m o u n t in " e m p t y " metal
bottles to a d d to mother-of-pearl. It
is wise, however, to run tests t h r o u g h
the kiln to discover the final color:
a lovely pearl blue might result, a n d
again, the color might be gray, lavender or pink.
÷ I thought enamels were bright but
in the vials the colors are very light. W h y
do your paintings look m u c h darker?
Enamel colors develop in intensity
dm'ing the process of firing.
÷ I have a f n i s h e d porcelain fi.eurine
with a fingertip broken / t o m the h a n d
and would like to k n o w h o w to m e n d it.
You can m e n d the finger in one
firing. Use soft white enamel (the
kind used for overglaze p a i n t i n g on
china) mixed to a stiff paste with
MAY, 1956
Trend
GLAZES
enainel m e d i u n i a n d with a very
small azimunt of the mineral flesh
color that matches the p a i n t e d hand.
A p p l y the paste to the broken edge,
a d r o p at a time until the fingertip is
properly b u i h up. F o r smoothing over
the joining seam, use the enamel softened down with turi)entine. After
firing, the repair will not be the least
bit noticeable. M u c h of the m e n d i n g
of small chips a n d cracks on art bodies m a y be done with soft enamel
a n d fired at overglaze-decoration
temperature.
I have been told 1 can use a lead
pencil [or b a n d i n g designs with an instrum e n t where a w a x pencil is too heavy;
however, I could not m a k e it work.
Craters, Matts and
Pattern Types
Easy to Use
Unusual Effects
Send for Descriptive
Literature and Prices
perpetual catalogue of all
ceramic supplies $1.00
Willoughby
Studio
407 E. Florence, Inglewood I, Calif.
phone:
ORegon
8-7067
First clean the piece with turpentine to create a tacky surface. Be sure
to use a soft lead t h a t will fire out;
some leads will not.
oIo IVhat colors
wh/te /lowers?
are
used
/or
paintine
Since the white flowers in a painting reflect the s u r r o u n d i n g colors of
leaves, o t h e r flowers a n d the atmosphere, the tones for shading a white
flower are quite varied.
Generally, you must consider the
effect of light, b a c k g r o u n d a n d shadows. Often colors show t h r o u g h the
t r a n s p a r e n t petals of a flower a n d can
be tones of blue, pink, yellow, green,
orchid, etc. T h e r e are some very soft
off-white mineral colors for china
p a i n t i n g - - such as T r e n t o n ivory,
satsuma, white rose, ashes of roses,
a n d gray for flowers. W h i t e rose is
used a great deal because it is a greenish tone. Ashes of roses is indispensible
but difficult to describe: it seems to
be a soft m i x t u r e of m a n y colors although it really looks gray. W h a t e v e r
color you select for white flowers, use
very thin washes of it; a n d suggest
faint shadows a n d reflections.
÷ C a n I i n t e r m i x e n a m e l colors?
A p p l y tile same rules for the intermixing of enamels as is used for
mineral pigments. (Review tim restrictions in the article on pigments in the
May, 1954 issue of C M . )
SETTINGSFOR COPPERENAMELING,
GEMS, PORCELAINDISCS, MOONSTONES
{ } P r o f e s s i o n a l J e w e l r y in S e c o n d s !
ONo Soldering--No Cementing!
e J u s t P r e s s I n s e r t in P l a c e !
e T a k e s S t a n d a r d Size B l a n k s !
SEND FOR FREEFOLDERN O W ~
Bergen has Everything/
FOR COPPERE N A M E L I N ~
& JEWELRYMAKING
A m e r i c a ' s largest selection of copper shapes,
spun bowls, enamels,
findings in 6 different
finishes, kilns, kits, gift
hoxes, rhinestones, etc.
Send 25c for Valuable 50 page Catalog.
DEALERS INQUIRIES INVITED
WRITE ON LETTERHEAD
--
D E P T . C E F - - 173 B E E C H S T R E E T
HACKENSACK, NEW JERSEY
33
Ceram-Activities
NEW-
FROM Re-
~/.J
LOOKING FO~ I;EAS'
( B e g i n s on P a g e 3 2 )
p
Turlsmo de las Aries Populares, Arts and
Crafts Tours in Mexico, July I-Sept. I: twoweek trips from Loredo, Texas and return;
each trip a different route. V/rite T. H.
Hewitf, 2413 Drlscoll St., Houston 19, Texas,
for details, rates, etc.
Craft Students League of the YWCA, New
York City, June I-July 2b: courses include
jewelry and enameling by Adda Husfed-Anc]erson and Margaret Sussman, pottery by
Roberfa Leber and Gerfrud Englander. Address the League at 140 W. 22nd St.
"DUL-MAT"
GLAZE
(not satin)
SUPER - 1 - S T R O K E
c e r a m i c color
Write Trinity for Re-Ward
Ceramic Color Price List.
50 p a g e s
to help you
$3 c o p y
',
ART GLAZING TECHNIQUES
I Like to know how to use---
I
I
I
F r i t s $ opaque for " s n o w " e f f e c t s ; t r a n s | p a r e n t f o r " j e w e l s " O A r t Glazes @ how to i
i achieve novel effects * C u r t a i n s fO:r Color
by d r i p or m u l t i - d r i p m e t h o d
con- I
i t r a s t i n g or h a r m o n i z i n g color c o m b i n a t i o n s .
• S g r a f f i t o a n d m a n y o t h e r ideas.
|
I L e a r n how to p r o p e r l y p r e p a r e a n d
handle
molded g r e e n w a r e ;
prepare
and I
| a p p l y dry glazes. A h a n d s o m e workbook
w i t h e n a m e l - t y p e paper, s p i r a l b i n d i n g , and I
| sharp photographs takes out the guesswork.
Teachers Guidebook--S2 copy
i
I A c o m p a n i o n book to t h e above publication c o n t a i n s f u r t h e r d i r e c t i o n s f r o m t h e [
] ceramic t e a c h e r ' s v i e w p o i n t . Class p l a n s .
CERAMIC ENTERPRISES
i
p,=322Riverbank
•
W y a n d o t t ~ M i c h igm=an==
Craft Workshop of the Pi Beta Phi School
JAYDARH
A ceramic turquoise stone at cone 09
A self-g]azing, one fire, v i t r e o u s body in powder form. Excellent f o r j e w e l r y or inlay. No
special t r a i n l n g necessary. W o r k s like clay.
A v a i l a b l e also in avocado, chartreuse, bluegreen and w h i t e to be colored to suit. I n s t r u c tions in p a c k a g e . 4 oz. $1.00, ~ lb. $1.50, 1 lb.
$2.50 check or m o n e y order. A d d 15c p o s t a g e .
and University of Tennessee at Gatlinburg,
Tenn., June I I-July 14: for other details, see
CM, March, p. 34.
Fletcher Farm Craft School at Ludlow, Vf.,
July q-end of August: details for this one
also given in March issue, p. 34.
CUSTOM-MADEFRAMESFOR6x6 CERAMICTILE,
ENAMELEDTILE,ETC. MAKEYOUROWN TABLES1
write today for description end prices.
S T U D I O 1coo
Moi. s.....
Racine, W~sconsin
HALLAM
WILTON POTTERYSier Hill Rd., Wilton, Conn.
FIRE PHOTOGRAPHS . . . . . . . .
O n C e r a m i c s , Glass, or E n a m e l e d M e t a l
w i t h our special type of made-to-order decalsr Color can be Black, B r o w n , Blue or
Green. Make d e l i g h t f u l j e w e l r y ,
personalized ceramics of m a n y kinds. P r i c e s s t a r t
at $1.00. S e n d f o r free booklet.
BATTJES PHOTOCERAMIC DECALS
1455 LYon N . E . ,
G r a n d R a p i d s 3, M i c h .
SRO: Each time a craftsman displayed his
(or her) skill in the numerous demonstrations
which were a feature of the New York Society of Ceramic Arts' annual show (see
"Show Time," p. 13), more than one hundred
visitors crowded around to watch. They saw
Rose Krebs, Jack D. Wolfe and James Crum-
Send for our FREE 20-pacje Catalog
and 8.page Supplement.
THE LEHRHAUPTS
P.O. Box 345B, 1000 Wickapecko Dr.
Asbury Park, N.J.
IMPORTED
WHITE CHINA
SPUN COPPER BOWLS, trays or cups.
Also--stamped circles or squares, plain
or slotted, for belts and links. Also--card,
match or cigarette boxes. The Old Viking
Shop, 1236 Delaware Street, Denver 4,
Send 25c for catalog
Deductible from first order
Maryland China Company
1436
N.
Gay
St.
Baltimore
13,
Md.
Colorado.
New
8Jr~"
•
11"
Monthly
MOVE-IN SALENOW ON!
MOLDS--BARGAINS GALORE!
Magazime
CHINA DECORATOR
in old " K e r a m i e S t u d i o " style, d e s i g n s ,
studies, a r t i c l e s f o r d e c o r a t i n g all c e r a m i c s ,
instructions by a r t i s t s for b e g i n n e r s , c l a s ~
and p r o d u c t i o n lines. All subjects. Send
your ideas and advertise your s t u d i o s and
products. S u b s c r i p t i o n $3.75 p e r year.
N E T T I E E. P I L L E T
841 B a r r o w s
Crt.,
Pasadena,
California
- CERAMIC JEWELRY BOOKLET - B a u m a n n ' s C e r a m i c Studio, well k n o w n for
" U n u s u a l - O r i g i n a l J e w e l r y , " h a s compiled a
booklet of p a t t e r n s a n d d e s i g n s for jewelry.
This booklet includes p r o v e n best sellers. Profusely i l l u s t r a t e d . Step-by-step i n s t r u c t i o n s .
Mailed a n y w h e r e - - P p d .
$1.50
(3% Sales Tax for Ohio residents, please.)
BAUMANN'S CERAMIC STUDIO
580 S. W a r r e n , T e l . : B R 9-5450, C o l u m b u s 4, O.
GLAZING
HELP
synthetic gum GLAZING COMPOUND
For use wlfh All Dry Glazes
TOUCH-O-MAGIC
Make your own B r u s h - o n ,
f r o m any dry glaze.
One-fire
glaze
H a r d e n s glazes, r e s i s t s f l a k i n g or p e e l i n g .
F a c i l i t a t e s t r a n s p o r t a t i o n of w a r e ; glazes
do not rub off or chip off w i t h h a n d l i n g .
No odor, no s p o i l a g e
keeps indefinitely.
A n effective t i m e s a v e r for all c e r a m i s t s .
St.00 per p k g . D i s c o u n t on cartons (25 pks.)
CERAMIC ENTERPRISES
Box 88C
Wyandotte, Michigan
S e e us in our H e w H o m e
undo s
Open S
Demonstrating enameling, Gertrude Hartman
shows ink drawing which served as guide.
(photo)
enameling
on
metar
132480Northwestern
Hwy.
Farmlngfon, Michigan
Phone: MAyfair 6-6003
I
COLORED CLAYS...
and
Maurice Heaton enameling on grass; Rolf
Key-Oberg, Margot Kempe and Jane Wasey
for flowers and jewelry. Ceramic and
porcelain. "See colors as you work"
showing sculpture and clay techniques; Dido
Smith and Marilyn Fox decorating pottery
and tiles, respecLiveTy.
AMERICAN
One of the oldest, if not the oldest, ceramic-craft organizations in the country, the
Society was founded in 1892 by Mme. E.
E!izabeth Le Prince. Its members, all practicing craftsmen, adhere to the princlp!e that
"trained craftsmen are an essential part of
our machine era and . , . by devoting themselves to the highest standards of workmanship they can be a guiding force in the
field of industrial production." Currently, the
President is Mi:s Harfman.
Inquire at your dealer or write direct
BEAUTY
CERAMICS
manufacturers and distributors o~ ceramic supplies
15648 Euclid Ave.
I
East Cleveland 12, Ohio
Guaranteed
Ceramic
Supplies
for
J SCH00LS STUDIOS TEACHERS HOBBYISTS
M a n u f a c t u r e r ' s representative for R E - W A R D
products.
Distributor,
sub-distributor
and
dealer inquiries invited.
EXPANSION AT USC: All set for expanded
ceramic instruction at both the undergradu( P l e a s e t u r n to P a g e 3 6 )
34
j
rine throwing on the wheel; Gertrude Hartman
INORWEST NOVELTY CO.
Y
Closed Mondays I
OLEVIA
CERAMICS
Wholesale and Retail
P h o n e 3-0476
152 C o n k l i n Ave., B i n g h a m t o n , N.Y.
CERAMICS MONTHLY
THE ~
g
doppe
SERIES
Trouble Shooting
by M A D G E
Now that you have been practicing
with the commercial, versatile underglazes and have seen the fired results
of some of your early attempts, you
may have some questions you would
like to have answered. A h h o u g h the
commercial underglazes are virtually
foolproof, the users aren't! Various
kinds of defects can show up in the
finished work: in the beginning they
usually do.
Chipping
O n e of the most c o m m o n complaints is that the underglaze and
glaze will chip off in spots after the
glaze firing. T h e most comxnon reason
for this defect is too thick a coating
of underglaze. T h e obvious solution is
to thin down the underglaze, and the
easiest wav to do this is to use a
wetter brush. (More often than not,
this will give you nicer-looking work,
too, since you should be striving for
translucency rather than opacity. T o
give their full color value, the colors
should be applied lightly--yet heavily
enough to be permanent. Hitting the
happy xnedium comes from continued
practice.)
Burning Out
Another c o m m o n problem is that
the colors burn out or fade in the kiln.
(I have had a hobby potter tell me
that she could not fire her underglaze pieces in a certain kiln because
it drew out all the color!)
Although colors can burn out at
high temperatures,
the prepared
underglazes will not burn out at cone
05-04; in fact, most of them will go
to cone 5 because they are designed for
use on hobby porcelain, too. T h e loss
of color during firing is due only to
the fact that not enough color was i)ut
there in the first place. (I assume you
are using commercial underglazes.)
So you see, the underglaze can be
applied too heavily or too lightly, and
each creates a problem. For that
reason, I keep stressing that you
should practice your strokes over and
over again and glaze and fire your
test pieces. It is only after glazing and
firing that you can properly judge
your results.
Bleeding
Another difficulty is the b l e e d i n g
(running) of the color into the glaze
MAY, 1956
TUMMINS
during the glaze firing. Blue and black
underglazes probably are the worst
offenders. There are several causes for
bleeding.
Laying on the underglaze too
heavily can make it bleed during firing. For the most part, clear glazes
become quite fluid when they melt
in the kiln and can cause too thick an
underglaze to flow.
A one-fire technique can create
bleeding. If the underglaze decoration
is first bisque fired, therefore, it is
fixed in place and bleeding can be
eliminated. (You have to bisque fire
high
enough because
under/ired
bisque can be attacked by the melting
glaze and made to flow.)
T o o heavy an application of glaze
can create bleeding (there is less
danger if the underglaze is bisque
fired, of course), so remember to
kee 1) the glaze coating thin. (This
can also help keep you out of crazing
difficulties. )
ENAMELS
Opaques-- Transparents
Lumps--Crackles
Hand Painting Enamels
GOLD,
PLATINUM
AND
LUSTERS
FOR DECORATING COPPER ENAMELS
Manufactured in California by
TORRANCE GLASS
& COLOR WORKS
22922 Soufh Normandie
Torrance,
CoJlforn[a
Bubbles and Pinholes
Applying a thin coating of glaze
and the practice of bisque firing will
not only help eliminate your bleeding problems but other defects as well,
namely bubbles and pinholes. U n d e r glazes will give off gasses in the form
of bubbles during firing. These can
become lodged in the glaze to form
the defect called bubbles; or they can
break at the surface, but not heal
over, to form pinholes.
If the decoration is bisque fired, the
gasses are given off before the glaze is
applied, so they cannot become
trapped in the glaze. If you use a thin
glaze coating, a bubble (from any
source) will be able to work its way
to the surface with ease, and not leave
any mark behind.
(During the melting process, the
glaze itself creates air bubbles which
must work their way out to leave behind a clear layer of glass. A thin
glaze coating a n d a s u f f i c i e n t l y lon~
f i r i n g cycle will help give the desired
results. )
I/you have a specific underglaze subject or problem you would like to have
discussed in this column, let me hear
from you, care o/ CM. All suggestions
will be carefully considered.--M. T.
FREE
CATALOG
Completely illustrated and priced !
SILVER, COPPER SHAPES...shown full size
STAINLESS STEEL TRIVETS...our famous line
"THOMPSON" ENAMELS "HOTPACK" KILNS
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JEWELRY FINDINGS PLIERS...SNIPS
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ENAMELING
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~~ ~
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35
Brush Decorations
COPPEsR
uF!NAMELING
Enamels • Copper shapes
& forms • Findings • Kilns
S e n d f o r catalog
Also complete line of ceramic
supplies and equipment.
ILLINI 0ERAMII
SERVICE
439
N.
WELLS
TELE:
ST. ,
CHICAGO
MICHIGAN
10,
ILL.
2-3367
A CRAFTS VACATION
in
Vermont
FLETCHER FARM CRAFT SCIIOOL
LUDLOW. VERMONT
J u l y 9 - - A u g . 31, 1956. T w o w e e k
periods. Courses offered in W e a v i n g ,
Pottery, Jewelry, Gilding, Copper
Enamel, Decoration, Rug Hooking,
Block printing & Silk screening.
Write for catalogue to: Mrs. Leona
Phelps, Ex. Sec., Society of Vermont
Craftsmen; Dept. 3, 5 Fairfax St.,
St. Albans, Vt.
1.1.1
studio m
~You can make extra dollars by selling~
|single copies of CERAMICS M O N T H L Y |
| a n d taking subscriptions on o commission|
| basis. WRITE to: Circulah'on
Dept. I
|
Ceramics Monthly
JJ
Jk 417S N. High S t . . Columbus. Ohio ~ l ~
The following b a c k issues o f Ceramics
M o n t h l y a r e still available at s i x t y cents
Ver copy (Ohio r e s i d e n t s add 3% sales
t a x ) . We p a y postage.
1953
April, J u l y , August, October, December
1954
February, March, April, July, August,
S~teTnber, November, December
1955
F e b r u a r y , March. April, May, J u l y ,
August, September, October, November,
December
1956
F e b r u a r y , March, April
P l e a s e send r e m i t t a n c e (cheek or m o n e y
order) w i t h list of back issues desired.
CERAMICS M O N T H L Y
4175 N. H i g h St.
36
Columbus, Ohio
pierce co.
(Begins on Page 14)
then four. Start over, using two lines
with each combination. Set up some
"technical problems" for yourself; for
example: make five different motifs
using four of the brush shapes and
two straight lines; or, make five different motifs using three of the brush
shapes and one straight line. You will
be amazed at how many different designs can grow out of rearrangements
of simple units.
In this kind of exercise, you will
find yourself going stale, running out
of ideas. Then it is time to set the
work aside. Coming back to it later,
your mind will start working in a
different way and new ideas will come.
After you have made a wide variety
of motifs, tlT working directly on a
plate or bowl. Divide the piece, either
mentally or with guide lines, into areas
so that it will be easier to place the
motif in pleasing relationships (see
"Decorating Lessons," CM, May, July,
Dec., 1955).
But do not worry too much, at this
point, about "right" placement of the
decoration on the p o t - - t h a t can come
later. The primary purpose of this lesson is to show how the shape of the
brush alone can be the basis for
effective decoration. •
(Coming next in the series: How and
where to place the decorations for most
pleasing results.)
Manufacturers
•
•
•
•
-- Designers
TOOLS
MOLDS
WROUGHT
IRON
CERAMIC ACCESSORIES
Catalog on q'equest.
Pierce Co. - - Box 115 - - Palo Alto, Cal.
,ARD¢
4 KILN
P. O.
Box 1066 Jacksonvi//e
Beach,
Fla.
Roder Ceramic Studio
new catalog at ceramic supplies, also
complete set of $4 pages of mold pictures
--25c for mold pictures.
1331 RACE ST. - PHILA. 7, PA.
t¢.OBBYIST6
IC CRAPIIC
JEWELRY KITS
Bisqued or g l a z e d w h i t e blanks w i t h
fittings to m a k e up e a r r i n g s , pins, cuff
and bracelets. Y o u decorate and finish.
for illustrated s h e e t a n d prices.
R e f . 160
G . F . R . Miller, 125 W . 16th St., N . Y . C . 11,
metal
links
Write
N.Y.
Ceram-Activities
3 r d annual
(Continued from Page 34)
York State Craft Fair
ate and graduate level, the University of
Southern California has an impressive array
of equipment, much of it newly installed and
including a blunger, ball mill, plaster wheel
for des;gnlng models for mold-making, production jigger wheel - - and enough new
throwing wheels to bring their total up to 17.
"Equipment additions and a further expansion within course offerings will place USC
among the few instlfutlons in the country
capable of a broad instructional program in
industrial and architectural ceramic design,
as well as studio work and teacher training,"
predicts Susan Pe÷erson, program head.
WINS GRANT: In a nationwide competition,
Donald E. Frith, a potter-teacher of the University of Illinois, has been selected to receive one of 62 study grants awarded by
the Danforth Foundation of St. Louis. Frith,
whose pieces are frequently seen in exhibl+ions, will go to Alfred University next fall
fo work for an advanced degree in ceramic
design. This potter has sflmulafed so much
interest in ceramics at Illinois that pottery
classes have spilled over from the regular
studio into a supplementary studio in the
ceramic engineering area.
August 23-24-25, 1956
Ithaca College, Ithaca, New York
Films • Demonstrations • Exhibits
WROUGHT - IRON TABLE FRAMES FOR
6 X 6 CERAMIC TILE, MOSAIC TILE, ETC.
DISCOUNTS
to STUDIOS and SCHOOLS
W r i t e t o d a y for Description and Prices
ca,melWorkcente,,tnc.
P.O.
Box
"I'-1
Carmel b y t h e Sea.
C~li£.
potu,' 'WhJ
Boston Post Road
Westport Soufhporf Line
Westport, Conn.
CopperEnamelingSupplies
Dealer Inquiries Invited
CERAMICS MONTHLY
Solid Casting
tion and not parallel to the table surface. T h e n it is cottled, and plaster
(Begins on Page 24)
mold. In any case, the position of the
entry must be such that the thickness of the casting will taper off from
that point to all extremes (in making the mold in this demonstration,
the model is tilted so that the thickest portion will be highest in the finished mold). Otherwise, the thicker
portions of the cast will not receive
enough slip to cast solidly; air pockets
will remain in the cast and expand
during firing, forming blisters in the
clay form.
CLAY MODEL: T h e model for the
solid-cast mold to be made here is
hand-built of clay. T h e element of
time can be a help or a hindrance in
making such a model. It is very difficult to give the model a smooth surface if the clay is still too soft. O n
the other hand, if the model becomes
too dry, it is difficult to add more
clay where needed without having
cracks develop. A successful method
is to rough out the form in fairly soft
clay, then let it stiffen enough for
ease in handling, but not so m u c h
May,
B and
is poured over to form the first half
of the mold.
REMOVING CLAY PACKING: After
the plaster has hardened, the moldhalf is inverted, and the clay in which
I Mfg.
Craftools,
Ino .......................
Creek-Turn
Pottery
..................
Studio
TO
POUR
PLASTER:
The
model is embedded in clay to the center, or parting, line. T h e thickest portion of the wall, which in this case is
at the side of the base, must be highest in the mold. T h e form, therefore,
is embedded in a slightly tilted posiMAY,
1956
....................
Harris, Charles, C o . . . . . . . . . . . . . . . . .
Harrison, the Kay, Studios . . . . . . . . .
Harrop Ceramic Service C o . . . . . . . . .
Holland Mold Shop . . . . . . . . . . . . . . . .
House of Ceramics . . . . . . . . . . . . . . . . .
I l l i n l Ceramic Service . . . . . . . . . . . . . .
Kiln-Gard . . . . . . . . . . . . . . . . . . . . . . . . . .
L and L Mfg. C o . . . . . . . . . . . . . . . . .
PARTING SURFACE: Depending on
the care with which the clay embedment was made, a certain a m o u n t of
cleaning has to be done on the parting face of the first half of the mold,
and care must be taken not to cut
into the model during the process.
T h e fact that this parting surface
34
5
9
34
34
7,
33
30
36
34
9
28
9
26
7
28
Detroit Fabricating C a r p . . . . . . . . . . . .
27
Drakenfeld, B. F. a n d C o . . . . . . . . . . . .
7
Duncan Ceramic Products, Ino. . . . . . . .
12
Fletcher F a r m C r a f t S c h o o l . . . . . . . . . .
36
Great Lakes Ceramic Hobby Exhibition.1
Hallam
the model was embedded is removed.
T h e model, however, should not be
taken out because it might be difficult
to replace it accurately.
READY
..........
Co ...................
Basoh, Bee, Designs . . . . . . . . . . . . . . . . .
Baffles Photooeramlc Decals . . . . . . . . .
Baumann's Ceramic S t u d i o . . . . . . . . . .
Bergen A r t s . . . . . . . . . . . . . . . . . . . . . .
Campana A r t C o . . . . . . . . . . . . . . . . . . .
Carmel
W o r k Center, Inc. . . . . . . . . . . .
Ceramic Enterprises . . . . . . . . . . . . . . . . .
Ceramichrame . . . . . . . . . . . . . . . . . . . . .
C o l e Ceramic Laboratories . . . . . . . . .
Copper Cat Inc. . . . . . . . . . . . . . . . . . . .
C o x , Florence, Ceramic Studio . . . . . . .
Lauer,
that additions may not be made. Final
finishing can be accomplished most
easily when the fo~an is at the leather-hard stage.
A flexible oval scraper and a piece
of hacksaw blade are good tools for
working down a clay model. T h e
scraper helps to assure a clean, unbroken line on the inside of the form.
The hacksaw blade is especially useful for refining the outside; by using
it in various directions, dimples and
bumps may be eliminated quickly.
Avoid using a sponge or water, however, until the model has been worked
down to the desired shape: dampening the surface actually makes the
finishing process more difficult.
1956
American Beauty Ceramics
Ruth
D.,
Ine ..................
.....................
Lehrhaupts, the
Magic Novelty Co . . . . . . . . . . . . . . . . . .
Maryland China Company . . . . . . . . . . .
Master Mechanic M f g . C o . . . . . . . . . . .
Mayco Colors, Inc. . . . . . . . . . . . . . . . . .
Miller, G. F. R. . . . . . . . . . . . . . . . . . . . .
Model Ceramics, Inc. . . . . . . . . . . . . . .
Norwest N o v e l t y C o . . . . . . . . . . . . . . . . .
O l d Viking Shop, the . . . . . . . . . . . . . . .
Olevla Ceramics . . . . . . . . . . . . . . . . . . .
OHon
Ceramic Foundation . . . . . . . . . .
Paragon Industries . . . . . . . . . . . . . . . . . .
Pieper Pottery . . . . . . . . . . . . . . . . . . . . . .
Pierce Co . . . . . . . . . . . . . . . . . . . . . . . . . .
Pillet, Neffie E. . . . . . . . . . . . . . . . . . . . .
Pollock Studio . . . . . . . . . . . . . . . . . . . . . .
Potter's Wheel, Inc. . . . . . . . . . . . . . . . . .
Potter's Wheel, the . . . . . . . . . . . . . . . . .
Pottery Crafts . . . . . . . . . . . . . . . . .
Pottery Workshop, the . . . . . . . . . . .
Re-Ward
..........................
Roder Ceramic
Studio
..............
34
30
8
2
S
5
36
3b
12
30
34
30
34
2
4
36
C-4
34
34
34
11
6
30
36
34
30
35
36
30
32
3
36
Sahuaro Molds . . . . . . . . . . . . . . . . . . . .
30
Schmid, Ludwig, Art Ceramic S t u d i o . . . 3 1
Snead, Jane, Ceramic Studio . . . . . . . .
31
Sorlano Ceramics, Inc. . . . . . . . . . . . . . .
30
Specialized Ceramics C a r p . . . . . . . . . . .
2
Tepplng S t u d i o S u p p l y C a . . . . . . . . . . .
28
Thompson, Thomas C . , C o . . . . . . . . . . . .
11
Torrance Glass & C o l o r W o r k s . . . . . . .
3S
Touch-O-Maglc . . . . . . . . . . . . . . . . . . . . .
34
Trinity
is not perfectly flat will help to keep
the two mold-halves in line during
use, but this does not cancel the need
for several notches. After they are
cut, the surface is soaped, the unit
cottled, and the second half of the
mold poured.
Ceramic
Supply
..............
34
United Artist Materials C o . . . . . . . . . .
Van Howe Ceramic S u p p l y C o . . . . . .
Vantage Press, Inc. . . . . . . . . . . . . . . . . .
Ward, S. Paul, Inc. . . . . . . . . . . . . . . . . .
29
Willoughby
Studio
..................
Wilton
Pottery
.....................
Wolfe,
J a c k D., I n c . . . . . . . . . . . . . . . . .
33
X-acta,
York
Inc .........................
State
Craft
Fair
...............
28
30
29
34
30
32
3b
( N e x t M o n t h , Mrs. Perkins will conclude
by showing how the mold is [inished and
how it is used to make a solid casting.)
37
MODEL
'tcna,,aee Kil,,
N E W 2 4 0 0 o f. Hi Fir • Kilns
These kilns are designed for the ceramic artist
to fire sculpture and stoneware items. No longer is
it necessary to have a gas kiln to fire stoneware.
The 2400 ° elements and 2600 ° refractories
backed by high temperature block insulation give
dependable service. Prices quoted on special sizes.
Firin~ Chamber
Width Width Height
Model
113S
i1
x 11
Max.
Temp.
Volts
Amps
Price
x 13~h
2400 °
220
15
$162.00
133S
13~/~ x 1 3 ~
x 131/,'_,
2400 °
220
20
$204.00
155S
15
x 15
x 15
2400 °
'220
25
$252.00
18
x 18
x 18
2400 °
220
30
$385.00
18
x 22~/~ x 221/.,
24005
220
.i5
$625.00
18
x 36
2400 °
220
60
$995.00
Volts
Aml)s
Price
220
20
$325.00
220
25
$425.00
2'20
35
$585.00
220
50
$1295.00
220
80
~1595.00
188SI
i
I
282S ]
z
372Si
i
Model
M o d e l 33S
Firin~z ('hamber
Width Width Height
[
i
Max. Temp.[
2400 °
33S* ]
13
x 13
x 13
55S
15
x 15
x 15
'
2400 °
18
x 18
x 17
I
2400 o
x 221~
i
2400 °
88S
i
i
i
222S i
Complete line o} ceramic art materials, supplies and
equipment available for Schools, Institutions and
Craft Centers. Send for FREE aata[og.
x 2')~h
- -
226S
221/~ x 2 2 ~
1
921
I
~
. ~ ~ x 221~ x 36
i
I
t
L
II
2400 °
*Model 3 3 S is a b e n c h m o d e l . A l l l a r g e r m o d e l s h a v e floor s t a n d s .
PYROMETERS
AND AUTOMATIC CONTROLS AVAILABLE
FOR ALL OF THE ABOVE MODELS