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Transcription

ii..........
The CERAMIC N A T I O N A L
TRADE SHOW & WORKSHOP
(Successor to the Great Lakes Ceramic Hobby Exhibition)
April 30, May 1, 2, 3, 1959
COLUMBUS,
OHIO
Franklin County Veteran's Memorial Building, Columbus, Ohio
Material & Supply Exhibits
~k
Competitive Hobby Displays
Demonstrations
-k
Workshops
N.C.A. Meeting May 3
-k
All this adds up to an exciting, stimulating, educational and
thoroughly enjoyable occasion. Wl~te for the schedule of events. Make
reservations early for classes. If a hobbyist, enter in the friendly
competition.
Managing Director Arthur E. Higgs
_
I~1
II
I1
414 North Jefferson
Bay City, Michigan
Ceramic Supplies
-~58 Supply C a t a l o g - - 5 0 c
(Deductible from first $.5.00 order)
68 PAGES
OVER 4000 ITEMS
MARC
M-58 MOLD CATALOG
$1.00
FAMED
(notdeducf;b[e}
BELLAIRE
CERAMIC
ARTIST
H a s s t a r t e d his 1959 t o u r . . . I f y o u w a n t
c l a s s e s o r i n s t r u c t i o n s w r i t e us f o r d e t a i l ed information.
80 PAGES
2105 SELECTED MOLDS
..................
1958 DECAL CATALOG--2Sc
FANCY
STONES .................
1S x 7 NAVETTES, Machine Cut . . . for C a t
Eyes, etc. Colors: A q u a , Topaz & C r y s t a l . . .
i 0c each.
44 PAGES
Fully Illustrated
Size # 2 0 , A U R O R A BOREALIS . . . Pointed or
Flai$1.S0 Gross.
Over S00 Decals
RHINESTONES - - Pointed and Flat. Size # 2 0 - Flats 75c Gross. Pointed $1.10 Gross.
MANY
Metal Enameling Catalog
AVAILABLE
Only 25c
COLORS
. . . SAMPLE
50c
SS PAGES
KITS, KILNS, SHAP ~
OTHER
AND
SIZES
ASSORTMENT
POSTPAID
Tr~r~l c
house
of ceramics
The Nation's Largest Hobby Ceramics Supply House
2481 Matthews A v e .
One LocationOnly
MARCH. 1959
~
MEMPHIS, TENN.
3
KLA Y KLUT[H
.~\. ~\
/ ~,.),~.
/
L{ / X
slip you know what we mean. Now for the first time you have a v a i l . . ~ ~ ~ ¢ ~ ~ / ~ ~ ~ _ _ . ~ /
Exgspergted')
if Y°u've ever tried t° mend g r ' e ' w a r e
\ ~1
wlth
able a p r e p a r e d mender THAT REALLY MENDS?
KLUTCH
strength
to
KLAY
is easy
use, has high
in the unfired state and exceeds the strength of your c l a y
MAYCO'S
b o d y a f t e r firing. Your piece w i l l b r e a k b e f o r e your mend!
only S0c for a 2 oz. Jar.
~
EXCITING NEWS
SOMETHING DIFFERENT
We Now Have: Elect. Alarm
Movements (same dimensions
as standard 31/2")
IN A
Ne,,, Se
FRESH as a breath of spring,
these enamel-type decals will
fire equally well on fine
china--on regular pottery or
stoneware--and on glass.
C . l n - ~1
C--111 # l - - W O O D
VIOLETS (3" x 3 - ~ " )
H.M.S. BELLEEKSLIP
3 for $1.20
C--111 # 2 - - W O O D
VIOLETS ( 1 - ~ " x 2-V2") 5 for $1.00
:~I00 White
$1.75 Gal.
C--111 # 3 - - W O O D
VIOLETS (1-1/2'' x 2-V4") S for $1.00
#101 Flesh
$2.25 Gal.
C--111 # 4 ~ W O O D
VIOLETS
~102 It. Grn.
#103 Lt. Blu.
$2.95 Gal.
$2.35 Gal.
(1" x 2")
FULL SET O F C A T A L O G S
6 for
90c
H-856 Madonna
171/2"
$16.00
-
Watermount Decals • Molds • Jewelry Findings
To cover mailing cost . . . . . . . . . . . .
Send only
Catalogs Plus a Surprise Watermoun+ Decal
Assortment #671-C . . . . . . . . . . . . . .
Send
H-857 Base
2'/4"
$3.80
25c
BISQUE FIRES AT CONE 6.
Matching Clear Glaze (cone 1-2)
$3.50 Gal. (all prices NET FOB.,
Trenton, N. J.)
only $ 1 .0 0
~
4
BUZZER TYPE
Same knob sets alarm time
and turns alarm on & off.
Gold colored face with black
numbers & hands. Sweep Second Hand. Complete Wffh
Cord (llst) $4.80 (F.O.B. Trenton, N. J.)
ili,i !iil
WOOD VIOLETS
&
/
AMERICA'S FINEST COLORS
DEALERSHIPS AVAILABLE ~ SEE YOUR NEAREST MAYCO DISTRIBUTOR OR WRITE US
Jnlroducln~
~
?',raM_
And i~s
l
O
d
l
O
P [ N N S Y L V A N I A AV. TRENTON N, J,
EX
2-7032m
CERAMICS MONTHLY
Volume 7, Number 3
March
•
1959
5C cents per copy
in
Letters
this
issue
of
...........................................
6
Enameler's Column by Kathe Berl . . . . . . . . . . . . . . . . . . . . .
Suggestions from our Readers
Itinerary
......................
.........................................
CAll,L06
7
9
10
Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11
Pic of the Month . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
Answers to 9uestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
Films On Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15
Underglaze Series: Three Satisfied Cats
demonstrated by M a r c Bellaire . . . . . . . . . . . . . . . . . . . .
17
Enameling: Separation Enamel by Jim Kreiter . . . . . . . . . . .
18
Wax
FREE
Resist Decorating Technique
by F. Carlton Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Maps for The Classroom by Vernon and Mildred Seeley . . 2 4
Tool f o r Making Uniform Coils by Paul Hafgil
Show Time: Florida Craftsmen
..........
......................
Teacher's Pet: Watching Children and Enamels Fuse
by Clark Heiple . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
27
28
Sculpture in o Brick by Reinhold P. Marxhausen . . . . . . . . .
29
Beginner's Hints on Underglaze Decoration . . . . . . . . . . . .
35
CeromActivities
36
...................................
Index to Advertisers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
ON OUR COVER: A wheel-thrown stoneware vase 36" high
made by F. Carlton Ball and decorated in the same wax
resist technique that he describes in the feature article
starting on page 20 of this issue.
Editor
Louis G. F a r b e r
Business M a n a g e r
S p e n c e r L. D a v i s
Managing Editor
Marian McIntyre
Associate E d i t o r
Art Director
Editorial Associate
Circulation Manager
Shirley Abrahamson
Robert L. Creager
T h o m a s Sellers
T h a n a Clay
A d v i s e r s 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 ; F. C a r l t o n
Ball; Marc B e l l a i r e : K a t h e Berl; E d r i s E c k h a r d t : J o h n K e n n y ; Zena
Hoist; Dorothy P e r k i n s ; Ken S m i t h ; Don Wood.
NEW•
For E n a m e l e r s . . .
Ceramists... Glass Decorators!
Enamel Powder
Firing Racks
Scalex
Sifters
Copper Wire
Hole Punches
Glaze Paints
Dremel Power Tools
L & L Kilns
Atomizers
Brik-Rok
Fire Bricks
Firing Forks
Paasche Spraying Equipment
Findings & Chain
Enameled Steel Tiles
Copper Shapes
Silver-Plated
Steel Shapes
Glass Ice Colors
Hofpak Kilns
Hobbyists, Professionals...
Teachers, Students: plan and
select your needs at
leisure from our new,
fully-illustrated catalog.
We offer a full line . . . a
single source . . . attractive
low prices . . .
fast shipment. Mail coupon
today for your Free Catalog!
Thomas
C. T h o m p s o n
Dept. C M - 1539 D e e r / i e l d R o a d
Highland Park, Illinois
Thomas C. Thompson Co. m Dept. CM
Ceramics M o n t h l y is published each m o n t h except J u l y & A u g u s t a t
L a w h e a d Press, 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. & T r e a s . ; 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, $5;
two years, $9; t h r e e years, $12. C a n a d a a n d P a n A m . add 50 c e n t s
a year; 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 s e n t to t h e e d i t o r i a l offices a t 4175 N. H 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 t h e post o f f i c e 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 of M a r c h 3, 1879.
C o p y r i g h t 1959 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 rights reserved.
1539 Deerfield Road, Highland Park, Ill.
Please rush your FREE CATALOG of enamels and
enameling supplies.
NAME
ADDRESS
CITY_
Co.
ZONP.~
STATE
each pot we can merely list the vital statistics about the pot and p o t t e r w i t h o u t
editorializing. T o critically evaluate a
piece ot pottery t r o m a p h o t o g r a p h w o u l d
be as p r e s u m p t u o u s as it w o u l d be un[air.---Ed.
This column is for CM readers who have something to saymbe it quip, query, comment or advice. All items sent in must be signed; names will be withheld on request.
Send letters to: The Editor, Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio.
WHAT'S WITH ENAMELING?
# F o r the past two years I have gained a
great deal of knowledge f r o m CM. As
an enamelist I have f o u n d every article
of i n t e r e s t - - c e r a m i c s and enamels do have
things in common.
I missed K a t h e Berl [in the J a n u a r y
issue]. Is this a t e m p o r a r y absence? Before
renewing my subscription I really w o u l d
like to k n o w w h e t h e r your policy of including enameling articles is u n d e r g o i n g
any change . . .
MRS. GENE BOSI-IKO,
Jackson Hgts., N.Y.
K a t h e ' s one m o n t h leave of absence was
indeed very t e m p o r a r y ; she will be in C M
each m o n t h [or m a n y m o n t h s to come.
I n addition, there will continue to be a
m o n t h l y illustrated [ e a t u r e . - - E d .
YOU ASKED FOR IT!
# Please express my thanks to T o m Sellers for a most interesting and informative article on decorative rims on t h r o w n
pots; done, I think, in response to my
request . . .
HILDA A. WHEATLEY,
West H e m p s t e a d , N . Y .
Y o u r letters, c o m m e n t s a n d thoughts in
general have m o r e influence
even dare t h i n k . t - - E d .
than
OLD CM's ANYONE?
# I was h a p p y to note [Letters, February]
that Lucille H o l z h e r r could complete her
C M library. I need m a n y copies to complete mine. Would any of your readers be
able to supply the J a n u a r y t h r o u g h J u n e
a n d September and N o v e m b e r issues for
1953? I need other issues too. H o p e this
will find some for me.
ORPHA L. GULLICKSON
Fertile, Minn.
I t anyone has these rare back issues
please contact the editors or Mrs. Gullick~on d i r e c t l y . - - E d .
you
WHO PICKS THE PICS?
# . . . I particularly enjoy the "Pic of
the M o n t h " . . . and was glad to see
something o t h e r t h a n a w h e e l - t h r o w n pot
for a change. I a m referring to the " U n i corn's Yoke" by C a r l t o n Ball that appeared in y o u r J a n u a r y issue. Frankly, I do
not feel that this is one of Bali's better
pieces; however, I a m glad to see you are
including h a n d - b u i l t pottery . . .
RARE COPIES OF "KERAMIC
PATRICIA SKIRVEN,
Pittsburgh, Pa.
# Y o u r m o n t h l y d e p a r t m e n t "Pic of the
M o n t h " is interesting b u t it seems you
bend over backwards to avoid saying anything interesting a b o u t the pot. W h y d o n ' t
you evaluate the pieces for us, discussing
the good and bad points . . . I hope you
are n o t afraid of controversy . . .
MERLE B. FREEMAN,
San Francisco, Calif.
T h e selection for "Pic o t the M o n t h "
is m a d e f r o m black and white photog r a p h s - - w h i c h 1 a m sure answers your
question. Since we do not have the opp o r t u n i t y to travel the c o u n t r y and handle
FOR
STUDIO"
# Could you tell me if the Keramic Magazine, published by K e r a m i c Publishing
Co., Syracuse, N .Y. has any value. I have
four b o u n d volumes from 1899 [Vol. 1,
N u m b e r 1] to 1912 [Vol. 13, N u m b e r 9].
T h e magazines are in excellent condition.
I teach ceramics at the Evangeline
H o m e of the Salvation Army. T h e volumes were donated . . . I f they have any
value we would like to sell them . . .
MRS. ROBERT CAMPBELL
G r a n d Rapids, Mich.
These are rare and m a n y china painters today w o u l d be delighted to hare
them. A n y o n e interested can contact Mrs.
C a m p b e l l at 1230 Calvin, S . E . - - E d .
( C o n t i n u e d on Page 34)
TEACHERS
by Dick Duncan
Blacks Can Be C o n t r o l l e d /
Here
is a piece done e n t i r e l y
in b l a c k l i n e s a n d a s y o u
c a n see . . . no b l e e d i n g o r r u n n i n g
m a r s the white . . .
t h i s t h a n k s to DUNCAN'S E - Z S t r o k e # 1 2 J e t Black T r a n slucent
underglaze.
T h e piece w a s d o n e on a w h i t e w a r e b o d y , b i s q u e f i r e d a t
cone
05
Antonio,
and
glazed
at
cone
06 b y
Laurine
Brock,
San
Texas.
You are guaranteed
s u p e r i o r r e s u l t s w h e n y o u u s e a n y of
t h e 24 b e a u t i f u l c o l o r s a v a i l a b l e in DUNCAN'S E - Z S t r o k e
Translucent Underglaze.
DUNCAN'S
is u s e d .
will p a y y o u $5 if y o u r " T i p s F o r T e a c h e r s "
S e n d to DUNCAN'S D e p t . T T
F r e s n o 3, Calif. S o r r y , " T I P S "
CAN'S
6
for
Name
of
4030 N. B l a c k s t o n e
c a n n o t be r e t u r n e d .
Distributor
Nearest
You!
CERAMICS MONTHLY
with
Hot and Cold H i n f s on R e p a i r i n g Enamels
Partial to enamel as we are, you and I (enameling
is the most beautiful, versatile and I - d o n ' t - k n o w - w h a t else technique), we cannot deny one t h i n g - - i t sure chips
easily !
CLAYS A N D G L A Z E S
THAT GO TOGETHER!
"Well," I say, slightly offended, when somebody
dares to mention this, "why shouldn't it be. Enamel is
glass and, therefore, must be handled with care."
I know very well, of course, that I a m indignant only
because the Achilles' heel of m y pet has been discovered.
Not only will abuse cause enamel to chip, but rapid
temperature changes (especially when a piece is not
counter enameled, or if the layer of enamel is too heavy)
can also cause a similar disaster. If a piece of enamel
is dropped or knocked over and it does not break, it certainly has a guardian angel. Most of the time the piece
hasn't an angel to protect it; or, at least, not a very efficient one, and the enamel dislodges from some areas of
the metal base.
W h a t can we do about such a misfortune when it
happens? In some cases, it can be repaired so that even
an expert cannot detect the m e n d i n g job. T h a t is the
lucky case when the break occurs on an opaque-enameled
piece and we know the n u m b e r of the enamel so it can
be matched to perfection. T h a t was a lucky break!
If a transparent piece is damaged, the situation is
much more serious. If the piece has a coat of solid color,
with no design, the scar will show. If you do not wish to
change the enamel's appearance, nothing can be done.
By changing the appearance of the enamel, however,
you can salvage the u n h a p p y thing. I n a case like this,
I would replace the old transparent piece by redecorating
it, covering the sears with a design. If done well, the
fill-in job cannot be seen, and the piece is good as new.
T h e secret remedy in both cases is, first of all, to
cleanse the piece of all dust, ashes, grease, etc. T h e n fire
it as it is--without filling in the "enamel-less" areas. T h e
firing process will smooth down the sharp edges where
the enamel has chipped off. If this initial firing is
omitted, a crack usually forms between the old and the
filled-in enamel.
After this firing, fill in the enamel according to
color. You might have to repeat firing the layers of
enamel to get it level with the rest of the piece. As I said
before, this is easy if the break occurs on an opaque spot.
If, heaven forbid, this happens on a transparent object,
also fire as is, then pickle and proceed just as you did
originally. If it was a transparent over flux, fire the flux
first and then the color over it. If it was over white, fire
the white first and then go on with the next coat. In
ooth cases when all this is done, I a m afraid that you
will still be able to see where the piece was m e n d e d and
you'll have to put a design over it after all. You will
(Continued on Page 33)
MARCH,
1959
DRAKENFELD clays and glazes are m a d e for each
other - are the right combination for better ware.
H e r e are a few suggestions. Give t h e m a trial and
convince yourseff.
CLAYS
CONE 06
W h i t e Casting C l a y 6 8 2 0 3
• . . just add water and adjust to proper
consistency. The slip improves with age."
CONE 06
W h i t e Plastic C l a y 6 8 2 0 4
• . . comes in moist form, ready to use for
modeling or throwing on a wheel.
GLAZES
Cone 0 6 0 4 Gloss (Maiolica)
Cone 0 6 0 2 Vellum Matt
Cone 06-02 Matt
Cone 07-02 Crystalline
Cone 07-02 Crackle
Cone 074)2 Fancy Art
These glazes produce sparkling results -- are available
in a wide variety of colors. All are specially designed
for Cone 06 fire -- danger of crazing, shivering, blistering, pinholing and crawling is greatly minimized.
OWN AN ELECTRIC KILN. Enjoy
the thrilling experience of firing
your own ware. Drakenfeld has
a full line of electric kilns-- flnor
and bench models-front loaders
and top loaders-from which to
choose one best-suited to your
needs.
prices on clay bodies, prepared glazes,
overglaze and underglaze colors, pyo
rometrie cones, banding wheels, labter's°rat°rYwheels.mills'
electric kilns and pot-
~.:~;
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.
:
. . . .
~;'~
....
~"
::,~,;y,~#~
~ , : ~ ....
';~'~ :/',~;~;~'~i
~:~ ~
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"................................................
7
Dependable. Safe. Easy to Operate
AmP,CO H I G H
ELECTRIC
TEMPERATURE
POTTERY
KILNS
2 3 5 0 ° F.
O
5 Large floor models--front loading, scientifically insulated firing
chamber, built-in instrument panel with indicating pyrometer,
handy storage cabinet.
Designed by ceramic engineers for easy operation, safe firing,
dependable service.
Approved by Underwriters' Laboratories, Inc. as complete firing
units (not just certain parts). Completely safe. Install these attractive kilns in your studio or classroom.
Q
Within a school day, Amaco High Temperature Electric Kilns will
fire a wide variety of clays and glazes at different temperatures
up to 2350 ° F.
O
As easy to operate as your electric stove! Heat control switches
are conveniently located on instrument panel. Master switch can
be locked to eliminate tampering.
Long life elements of imported Kanthal wire--the best money can
buy--protected by high fire refractory holders.
@
Replacement parts always promptly available. Amaco has been
an established manufacturer since 1919. And, the first electric
kilns especially for school use were built by Amaco.
limP, CO ,,,co.o..,,
ELECTRIC
POTTERY
KILNS
2 0 0 0 ° and 2 3 0 0 ° F.
~j]) Top loading kilns . . . maximum firing capacity at low cost.
4 High fire kilns . . . 2300 ° F. maximum . . . floor and table models.
~)
5 Standard k i l n s . . . 2000 ° F. m a x i m u m . . , floor and table models.
Q
All models UL approved as complete firing units.
Strong steel e x t e r i o r s . . , long life Kanthal wire elements.
Easy to o p e r a t e . . , fires in a school day.
Free C a t a l o g
I
:" +':"
INDIANAPOLIS
24,
N o . 4 4 G i v e s Prices a n d C o m p l e t e
INDIANA
l,,l,r,l,l,l
Electrical D a t a
KILNS • WHEELS • GLAZES
CLAYS • D E C O R A T I N G COLORS
CERAMICS MONTHLY
from our readers
A Tip for Joining Pottery
In j o i n i n g two pieces of p o t t e r y , h a v e you h a d t h e
u n f o r t u n a t e experience of h a v i n g t h e m come a p a r t a t t h e
joined seam a f t e r bisque or glaze f i r i n g ? I f so, t r y this.
A f t e r r o u g h i n g the edges to be joined, a p p l y slip. T h e n
b r u s h on some thick glaze ( t h a t w h i c h h a s s e t t l e d in t h e
bottom.) This m a k e s a s t r o n g bond b e t w e e n t h e two pieces
a f t e r firing.
O. HOMMEL
the world's
most complete
Ceramic
Supplier
--Dorothy E. Fasig, Ashland, Ohio
NDERG~,ZE COLORS
~;LAZE STAINS
"i
Hint for Loading Kilns
W h e n p u t t i n g the l a s t f e w pots into a top l o a d i n g kiln,
or the f i r s t pots into the back of a f r o n t loader, it is difficult to hold the s t i l t in place w h i l e s e t t i n g t h e p o t
down. I find it h e l p f u l to place a drop of a i r p l a n e glue on
:PREPARED
ENGOBE STAINS
PREPAREDCLAY BODIES
OVERGLAZE COLORS
GLASS COLOR~
GOLD-PLATINUMLUSTRES
for glass and china
CHEMICALS, FRITS
KILNS--all types
WOOD MODELING
TOOLS
TURNING TOOLS
BRUSHES--for decorating
DECORATING WHEELS
BRASS WIRE SIEVES /!
ASBESTOS GLOVES
i~
and MITTENS
• UNDERGLAZE PENCILS{~
i.~:;~.
i-" and CRAYONS
~IR BRUSHES ~,:~
._, ._---.
_
each
ting
kiln
burn
p o i n t of t h e stilt, p l a c i n g t h e p o t on t h e s t i l t a n d setit aside u n t i l dry. T h e n , w h e n p l a c i n g t h e p o t in t h e
t h e stilt is a u t o m a t i c a l l y held in place. T h e glue will
out in firing.
- - J i m Kutzner, Ventura, Iowa
For Spilled Slip
W h e n m y s t u d e n t s spill slip, t h e i r f i r s t i n c l i n a t i o n
seems to be to m o p it up w i t h a rag. Since clay n e v e r should
be w a s h e d down a sink d r a i n , c l e a n i n g t h e s e r a g s poses a
problem. H o w e v e r , we h a v e f o u n d t h a t m e t a l s c r a p e r s
h a v e a v e r y t h i n edge which scoops u p spilled slip or p l a s t e r
to such p e r f e c t i o n t h a t t h e use of a r a g b e c o m e s u n n e c e s sary.
--Magda A. Larson, Davenport, Iowa
Metal Lids for Mosaic Trays
The l a r g e m e t a l lids f r o m c o t t a g e cheese c o n t a i n e r s
m a k e excellent b a c k i n g s f o r y o u r mosaics a n d can be used
as t r a y s . M a n y of t h e s e lids a r e a b r a s s color a n d need n o t
even be painted. Coffee-can lids also c a n be used as t r i v e t s ,
wall plaques, etc.
GLAZES
': ~ L
o
--Joan Lobenberg, Brooklyn, N.Y.
Cure for Pin-holes in
Molds
M a n y people h a v e a s k e d m e h o w to cure p i n - h o l e s in
molds. I h a v e h a d v e r y good success b y r u b b i n g t h e e n t i r e
inside of t h e mold w i t h v e r y fine g a r n e t p a p e r . Of course,
t h i s is n o t p r a c t i c a l w i t h some molds, b u t o f t e n in g r o u p
work, a n old mold is p o p u l a r a n d t h i s does o f f e r m a n y
more c a s t i n g s u n t i l t h e mold c a n be replaced. T h i s s a m e
idea also can be used on n e w molds t h a t a r e n o t as s m o o t h
as desired.
~
F R E E HOMMEL CATALOG
--Peg Townsend, Tucson, Ariz.
Technique for Driftwood Effect
A v e r y p l e a s i n g d e c o r a t i o n t h a t gives t h e f e e l i n g of
driftwood m a y be o b t a i n e d in t h e f o l l o w i n g m a n n e r . R e m o v e
mold m a r k s f r o m t h e g r e e n w a r e t a k i n g c a r e n o t to r e m o v e
the t e x t u r e . Dilute b l a c k o n e - s t r o k e u n d e r g l a z e w i t h w a t e r
to a b o u t h a l f s t r e n g t h . U s e a l a r g e g l a z e b r u s h a n d a p p l y
the diluted c o l o r a n t to a s m a l l a r e a a n d quickly r u b off
MARCH,
1959
TH: O . HO
Write for your copy loday. Profusely illustrated.
.'leader can write for
technical information
and aids in formulating
various glazes.
EL co.
Dept.
c..3. PITTSBURGH 3 0 . PA.
West Coast Warehouse, Laboratory & Office
4747 E. 49th Street, Los Angeles, California
#
Send show announcements early--WHERE TO
SHOW: three months ahead of entry date;
WHERE TO GO: at least six weeks before
opening.
WHERE TO S H O W
BELGIUM, OSTEND
July, August 1959
An international exposition of ceramics
to promote ceramics as an art form will
be sponsored by the Academic Internationale de la Ceramique and the city
of Ostend. Several international prizes
will be awarded. American ceramic craftsmen interested in submitting entries may
write to Mr. Frank Edebau, Curator of
Musee Communal d'Ostende, 66 Rue des
Flandres, Ostend, Belgium.
KANSAS, WICHITA
April 11-May 20
T h e 14th National Decorative Arts-Ceramic Exhibition to be held at The
Wichita Art Association. Jury; entry fee,
$3.00; awards over $2500. Deadline for
entry: M a r c h 14. For further information write Mrs. M a u d e Schollenberger,
T h e Wichita Art Ass'n, 401 N. Belmont
Ave., Wichita, Kansas.
to natives and residents of Kentucky
and Southern Indiana. At J. B. Speed
Art Museum. Media: sculpture, painting, crafts; fee $2.50; jury; prizes. Entry cards due M a r c h 11; work: M a r c h
13. Write Eleanor Woodruff, Art Center
Association, 2111 S. First St., Louisville,
Ky.
Deadline for work: March 10. ~'ritc
Art Directions Gallery, 545 "Avenue of
Americas, N. Y. C.
OHIO, CLEVELAND
May 6-June 14
MARYLAND, HAGERSTO'~VN
April 5-30
Cumberland Valley Artists' 27th Annual
Exhibition. At Washington County Museum of Fine Arts. Open to residents and
former residents of Cumberland Valley.
Sculpture, ceramics and other media.
Jury; no fee; cash awards. Deadline
for entry cards, M a r c h 24; work, M a r c h
31. Write Bruce Etchison, Director, Box
423, Hagerstown, Md.
MASSACHUSSETS, ANDOVER
April 4-May 3
"Massachusetts Crafts of Today," a juried exhibition to be held at the Addison
Gallery of American Art. Residents of
Massachusetts, teachers and students eligible. Massachusetts crafts for the 1959
Boston Arts Festival will be selected from
this exhibition. Awards; museum purchase prize. Fee: Members of the Massachusetts
Association of H a n d c r a f t
Groups, $1; non-members, $2. Deadline
for work: M a r c h 12. For additional information, write the Addison Gallery.
April 1-30
Art Center AnnualShow for 1959. Open
OHIO, TOLEDO
May 3-24
The Toledo Area Artists will hold their
41st annual exhibition at the Toledo
Museum of Art. Entries in all recognized
art media. Jury. Entry fee $3. Cash,
special awards, purchase prizes. Deadline for work April 11. For additional
information write June Albright, corresponding secretary, Toledo Federation of
Art Societies, 2635 Gunckel Blvd., Toledo, Ohio.
WHERE TO GO
ALABAMA, TUSCALOOSA
through March 15
N E W YORK, N E W YORK
March 13-26
KENTUCKY, LOUISVILLE
Cleveland May Show. Open to residents
or former residents of Greater Cleveland.
At The Cleveland Museum of Art, Special Exhibition Gallery. Media: Paintings, drawings, prints, photography, ceramics, sculpture. Fee $2. Deadline for
entry: March 16. Jury; prizes. For further information write: Margaret R.
Parkin, T h e Cleveland Museum of Art,
11150 East Boulevard, Cleveland 6,
Ohio.
First of six juried competitions for current year to be held at Art Directions
Gallery. Jury; all media; entry fee $3.
"National Ceramic Exhibition", Sixth
Miami National, Smithsonian Institution
Traveling exhibition. At the University
of Alabama.
The Eastern Show will be the biggest in 1959l
The Eastern Show offers the "Best
Buyers' M a r k e r ' !
The Eastern Show offers "Special
Workshop Classes"!
The Eastern Show offers your "Best
Dealership Opportunities"!
IMay 21.24
*
The Eastern Show presents GLENN
LUKENS on the Lecture Dias/
I
CERAMIC
EXPOSITIONS,
INC.
JERRY GASQUE. Managing Director
C O N V E N T I O N HALL. ASBURY PARK. N. J.
TELEPHONES PROSPECT 5 - 8 9 6 6 : 6 - 6 2 6 0
10
CERAMICS MONTHLY
Leaded Stained Glass Kit
The craft of this old-world art
medium is now available to artists
and craftsmen. All the materials and
tools needed are included in one kit,
with step-by-step photo instructions.
a particular color. Available in turquoise, blue, brown, green and mauve.
L A V A GLAZES
in white
and beautiful
colors
a nd
the
NEW
SPECKLED LAVA Glazes.
New New New
for 1 9 5 9
Fine Art Glazes
[
Complete
kit:
$12.95,
ppd.
Write
Stewart Clay Co., Inc. Dept. K-CM,
133 Mulberry St., New York 13.
New Book on Enameling
Each kit contains designs to produce
three 8" x 10" panels of genuine
leaded stained-glass art. A complete
open stock of materials is available
as well as instructions on how to create your own designs. Advanced instructions are also available. Write
Glass Art, Box 2010, Sante Fe, New
Mexico. Ask for brochure CH2, and
mention CM.
"Carry-It" Air Compressor
This
air
compressor is a
;'~i
compact, portable and powerful unit. It
e m p 1o y s a
heavy duty 1/3
horsephower capacltor-type electric
motor and a high-pressure piston-type
compressor. This compressor is particularly useful in the application of
glazes and decorated coloring as well
as dusting and general spraying. It is
mounted on rubber for quiet operation
and equipped with carrying handle.
Total weight is 55 ibs. Master
Mechanic Mfg. Co., Burlington, Wis.
Mosaic Tile Kits
A "do-it-yourself" mosaic tile kit,
complete--includes 20" c~i a m e t e r
Flake bond top; three legs with brass
plated ferrules (leg plates already attached) ; more than enough Italian
Glass tile; tile cutters; glue; grout and
complete instructions. Each kit has a
combination of four or five shades of
MARCH, 1959
"Enamel Art on Metals" by Edward
Winter fills in many of the gaps that
have existed in the literature on enameling. The well-k n o w n Cleveland
enamelist discusses all enameling techniques and all metals. The book is
elegantly prepared a n d beautifully
printed. There are 159 pages and a
great number of photographs, many
in full color. It should prove an excellent source of reference and a fine
addition to the library of all serious
enamelists. Copies are $9.75 each and
can be obtained from Watson-Guptill
Publications, 24 W. 40th St., New
York 18.
Beautiful by themselves,
terrific in combination, one
glaze over another.
2 0 Beautiful
LUSTRES
Specially prepared
for easy painting.
GOLD and PLATINUM.
C-10
The most versatile Glaze
available in powder or
liquid form. Non-running.
LEAD-FREE, Cone 06 to 6.
A must for LUSTRE Work.
50 Underglazes
Pure clear colors.
30 One Stroke
Potters Kickwheel
Unclerglazes.
RENAISSANCE
Brilllanf-Antique and Satin
Matt Glazes. LEAD FREE.
A magnificent color array.
~DAI l
~
This kickwheel is built on a rugged,
welded angle-iron t a b 1 e 2'x3', 28"
high with a ~ " wood top. The head
and flywheel are cast iron and the
head is 13" in diameter mounted on
a ~ " cold rolled shaft with self-aligning ball bearings. The connecting rod
is low friction ball-and-socket s t e e 1
with bronze inserts.
T o keep the cost as low as possible
CONFETTI
The most talked about
beautifully speckled glassy
and matt Glazes, 06 to 04.
If You Have Never Used
RENAISSANCE You Have
Not Used The Best
Send for catalog.
(Gontinued on Page 32)
F1
Photo: Courtesy Syracuse (N.Y.) Museum of Fine Arts
CM's Pic of the Month; Probably one of the best known pieces of pottery by one of America's most famous potters is this cookie iar by Arthur Baggs (1886-1947). Standing 16 inches high
(14" diam.), this salt-glazed stoneware jar is an excellent example of a pot that points up the plasticity of the material from which it was made. The lid and handles "seem to have grown" from the
wallsElike pulled taffy; the throwing marks left in the wall vitalize the surface. Mr. Baggs was a student
of the famous English potter, Charles Binns, during the early days of the New York State College of
Ceramics at Alfred, graduating in 1911. In 1928 he started ceramic art education at Ohio State University. This cookie iar won the immediate and unanimous acceptance of the jury of the Seventh
Ceramic National (Syracuse Show, 1938) and was given the top prize for pottery. It is now in the
permanent collection of the Syracuse Museum.
12
CERAMICS MONTHLY
Acclaimed
Everywhere
by
Teachers
and
Professionals
for
Performance!
uestlons
Conducted
by the C M
Technical
Staff
Q/
am unable to ke:p my china 1minting clean, in spite
o/ all prec,,tio~.~. It picks up lint while I am painting
and has u~tsightly ~ottled spots after firing. W h a t shall I
do ?
The cause m a y be the m i x i n g m e d i u m you are u s i n g
for the l c a i n t s - - e s p e c i a l l y if it is h e a v y in consistency.
Avoid u s i n g f a t oil as it has an affinity f o r lint. I n s t e a d ,
use a medium c o n s i s t i n g of s o f t e s s e n t i a l oils such as oil of
cloves, balsam of copaiba, and oil of lavender. Some of
these oils dry f a s t e r t h a n o t h e r s , so c o r r e c t p r o p o r t i o n s are
e s s e n t i a l f o r a balanced m i x t u r e . This was fully explained
in my column in the J u l y 1954 issue of CERAMICS MONTHLY.
--ZENA HOLST
Q
We have experienced difficulty mixing some white
clay (described as flour clay on the container). We mixed
it in a large galvanized tub with luke w a r m water. It
was well stirred and left to settle. Almost immediately
the clay settled and became extremely hard. W h e n we dug
it out, it was in hard lumps which, in a f e w seconds,
liquified in the hand. It was in, possible to wedge, even
after drying on a plaster bat, due to its springy, rubbery
consistency. On previous occasions we have had no trouble
with clay out of the sa~ne bag. Could this be the result of
adding too much water?
I f you used some clay s u c c e s s f u l l y out of the s a m e
bag, it m a y well be t h a t you used too m u c h w a t e r in mixing. Too t h i n a n d w a t e r y slip c a u s e s t h e clay p a r t i c l e s
to settle out immediately.
It could also be t h a t y o u r clay w a s a c o m p o u n d e d body
r a t h e r t h a n a single clay. I f t h e i n g r e d i e n t s a r e n o t p r o p erly g r o u n d and mixed, it is n a t u r a l f o r t h e h e a v i e r p a r ticles to settle out. This m a y have been t h e f r i t which
s e t t l e d out f i r s t and caused the m a s s to become h a r d .
I would s u g g e s t t h a t you c o n t a c t t h e m a n u f a c t u r e r
or source of supply, give the d e t a i l s a n d the n a m e or
n u m b e r of the clay. T h e y should be able to give you the
solution. W a r m w a t e r would n e i t h e r help n o r cause the
difficulty, but the a m o u n t of w a t e r used in p r o p o r t i o n to
the clay should be s t a t e d . - - K E N SMITH
Q C o u l d you tell me the correct way to fire gold? I have
tried many different ways without success, and have had
::ome cracks show in the gold and also in mother of pearl.
This N a t i o n a l l y
Recognized
Power-Driven
Precision W h e e l
only $ 5 7 . 5 0
(Shipped complete,
Less Motor)
Ideal for school, studio, home use . . . The famous B & I
Pottery Maker, first in the field, is still first in value and in
prlce! Simple operation, rugged construction, with all the
versatility required by professional workers! Many builf-ln
features . . . ADJUSTABLE arm rests; BUILT-IN water container; VARIABLE speed drive; QUIET bronze and babbif
bearings; ADJUSTABLE foot-pedal control; U N U S U A L size
range.
Before you buy, Write B & I . . . get full, free details; Pointby-point, we challenge comparison on Q U A L I T Y 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.
"Originators
and M a k e r s of f a m o u s B & I GEM M A K E R S "
EXCLUSIVE MOLDS by
PROGRESSIVE DESIGNERS
.~32 - - Embossed folded
edge centerpiece (modern pond lily design)
12" x 10" x IV2", $7.50
#:32 - - A - - Candleholder
to match ~32. Approx.
3" x 3", $2.75
@33mCutaway free form bowl.
May also be used for hanging
planter. 12" x 4" x 5", $5.90.
Use the s a m e rules for firing gold as f o r e v e r y o t h e r
kind of overglaze decoration. Read the g e n e r a l i n f o r m a tion on firing p r o c e d u r e s in the A u g u s t 1954, and J u n e - J u l y
1956 issues of CERA.~IICS MONTHLY.
Cracks usually are an indication of overfiring. Gold
w i l l crack if you have not used a type t h a t is c o m p a t i b l e
with the ceramic ware you have decorated. I could not
give you any specific a n s w e r s to the causes of the c r a c k i n g
unless I know w h e t h e r you used fluxed or unfluxed gold,
the composition of the clay body, firing t e m p e r a t u r e , etc.
--ZENA HOLST
# : 3 4 - Pond Lily
10" Plate [unusual, rare S-leaf design) $3.75
#:35 - - GawkyPete pitcher. 8'/2 ''
x 5V2", $6.10
# : 3 6 - Platform condiment
bowl. 6V2" x 4V2" x 2Vz",
$2.60.
Q
Can you tell me what the water-etching process of
decorating is?
An e t c h i n g technique is one in which you p a i n t a design
with a special m a t e r i a l on a n unfired s u r f a c e . T h e n you
stroke the e n t i r e s u r f a c e w i t h a w e t sponge. The m a t e r i a l
you p a i n t e d on will r e s i s t the w e t s p o n g e ; t h e r e s t of the
piece will g r a d u a l l y be " e t c h e d " as it is s t r o k e d , l e a v i n g a
raised design. B i s q u e - f i r i n g b u r n s o f f t h e r e s i s t m a t e r i a l
MARCH, 1959
5% packing charge: No COD orders please.
All molds FOB Beverly,
Mass. Contact your dealer
~ r ~
or order direct. Send name
for free mailing llst. Dis-
InlJ/llf
~ / ~ 1
I ~ I ~ L " ~ f E
F ~ - - M O L D S
,ributo.
/
invited.
Maillna Address:
Box632, Lynnfield, Mass.
13
Select
Itinerary
titles
from
the
(Continued /tom Page 10)
CANADA~ MONTREAL
through April
THERE MUST BE
A REASON W H Y
Symphony
Ceramic
Colors
are first choice in ceramic workshops in the
Metropolitan
New
York
P u b l i c School S y s t e m
comprising hundreds of
REASON
IS
QUALITY...
quality you can trust . . .
time after t i m e . . . j a r
after jar. You see, S y m phony
Ceramic Colors
were developed by an
Alfred University Ceramic
Engineer who has instituted and maintained the industry's most rigid standards on every Symphony
product.
our Delivered
DEPARTMENT
Prices
From 1 oz. to 1 gallon
FOR
~BmEmlmmm
(~ONNECTICUT, NE~,V HAVEN
A desiqner and potter,
March 10-30
many in full size, with suqqestions for proper colors.
Many Pennsylvania Dutch designs included. Oversize format (10" x 13"} 72 pages.
Should be on the shelf of
every ceramist's library. Pa- ....
author
New H a v e n Paint and Clay Club 58th
Annual. At New Haven Public Library.
ILLINOIS, CHAMPAIGN
March 8-22
The
tival
tion,
ture,
per
presents
the
350 desiqns.
bound.
$3.00
10th annual Christocentric Arts Festo be held at the Newman FoundaUniv. of Illinois. Painting, sculpceramics, graphics.
DESIGNS A N D H O W TO
USE THEM
by Joan B. Priolo
Top-notch decorating can be
achieved by following f h e
simple motifs which may be
KANSAS, TOPEKA
easily enlarged or transferred. With emphasis on mod-
through April 15
ern design the author has
assembled a complete subject list including birds, fish,
flowers, Pennsylvania Dutch,
etc.
KENTUCKY, LOUISVILLE
134 pages.
$5.95
I. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
May 5-26
"British Artist-Craftsmen" exhibition at
The J. B. Speed Art Museum, 2035
South Shipp St.
LOUISIANA, BATON ROUGE
April 1-22
"National Ceramic Exhibition", Sixth
Miami Annual, Smithsonian Institution
Traveling Exhibition at Southern University.
I
June 7-30
"British Artist-Craftsmen" Exhibition at
deCordova and Dana Museum.
CERAMICS
by..rbe.
Midwest Designer-Craftsmen Exhibition,
co-sponsored by Joslyn Art Museum and
Midwest Designer-Craftsmen. At Joslyn
Art Museum, 2218 Dodge Street.
N E w HAMPSHIRE, DURHAM
April 8-25
Exhibition of the New Hampshire Craft
Guild for 1959 to be held at the University of New Hampshire. Pieces from this
exhibition will be selected for showing
at the 1959 Boston Arts Festival.
~ ~ ." ~s,:~
BOOK
H Sanders
An
excellent
introductory
book o . . . . . .
its. Describes
methods and materials used
to make pottery by pinch
method, coils and slabs--as
:nl ~ ,)~~,:~~,f<f i+: ~~: ~
,,i~I
well
as wheel
thrown
and
cast forms. Discusses ceramic iewelry, sculpture, de,:oralive processes and kiln fir:
inq. 96 pages.
$1.75
.. .....................................
•
|
i
,'i
We
DESIGN
FOR
Pay Postage
1!
i ......................................
by
through March 31
I
H A N D B O O K OF DESIGNS
A N D DEVICES
by Clarence Hornung
Basic designs and variations
include the c i r c l e . line.
scroll, curvilinear, fret, sMeld,
snow crystals, angular interlacement, a n d many other
equally useful symbols. More
t h a n 1800 sketches packed
into 240 pages of informative
text.
Paper bound•
$1.90
CRA,SME,
NEBRASKA, OMAHA
l
L....................................
April 1-May 3
"Ceramic International" Exhibition at
the Museum of Fine Arts. Pottery and
sculpture from the current "Syracuse
Show" includes 200 ceramic works from
10 invited European countries and 150
pieces from the U n i t e d States, C a n a d a
and Hawaii.
I
Money-Back Guarantee
MASSAGHUSETTSj BOSTON
MASSACHUSETTS, LINCOLN
When you consider these
facts, doesn't it make
sense to use Symphony
Colors in your school
system, too?
Check
BOOK
DECORATIVE DESIGNS
CRAFT A N D HOBBY
by Frances Johnson
An exhibition of pottery by Bernard
Leach at The Mulvane Art Center.
schools.
THAT
Biennial exhibition " C a n a d i a n Ceramics
of 1959" sponsored by the Canadian
Handicrafts Guild and Canadian Guild
of Potters. At Montreal Museum of Art.
ARTISTS
i
AND
Louis Wolchonok
: ~u~i~i~
One of the best books on
design, it will prove invaluable to pottery and sculplure enthusiasts as well as
decorators.
Geometric
,.,,...,..,.,.+~.t~t~iiA..,..,.!
~-~mll
form,
flower and plant form. birds
and animals in careful detail.
Oversize format. 207 pages.
I 2 8 0 illustrations.
Clot
h
bound.
$4.95
,. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Order
CERAMICS
4175
MONTHLY
N. High
Please
Form
Book
St., Columbus
send me the following
Dept.
14, Ohio
books:
N E W HAMPSHIRE~ .'V[ANCHESTER
through March 15
"British Artist-Craftsmen", Smithsonian
Institution Traveling Exhibition. At Currier Gallery of Art.
NEXt." HAMPSHIRE, MANCHESTER
I
March 4-April 5
Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The 1959 New Hampshire Craft Guild
Exhibition. Includes all crafts. Sponsored
by the League of New Hampshire Arts
and Crafts. At Currier Gallery of Art.
(Continued
14
on
Page 36)
enclose
. . . . . . check
. . . . . . money order
Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
City . . . . . . . .
Zn . . . . .
State . . . . . . . . . . . . . .
Ohio residents add 3% Sales Tax.
CERAMICS
MONTHLY
Films On Ceramics
Have Films Will R e n t - - T h i s up-to-date list
of instructive films on ceramics
tells you where and how to order them.
MOVIES
ARE B E T T E R T H A N
E V E R - - a n d this holds true of those
being offered for the ceramists' consumption. Without a magic carpet
you can be wafted to foreign lands to
watch the master craftsmen at their
work; you can "visit" potters in your
own country and see their skilled
hands creating a masterpiece; you
can "keep up with the Joneses" of
the ceramic world through this convenient medium.
A valuable aid to students, teachers, recreation l e a d e r s - - a l l ceramic
enthusiasts seeking new ways to interest others in the crafts--the motion picture is a potent teacher. It is
both fascinating and instructive.
The editors of CERAMICS MONTHLY have recognized the value of films
that show the making of molds and
different methods of decorating, glaze
application and good craftsmanship.
It is inspiring to watch a potter at
his wheel; helpful to see the correct
way to load a kiln. The mixing of
glazes, making of mosaics, enameling,
Almanac Films, Inc.
516 Fifth Ave.
New York 36, N.Y.
HOW TO MAKE A PLASTER CAST
Plaster casting is visualized in d e t a i l - the cutting of the shims, preparation of
plaster, slow motion of wet-plaster "flipping," making the mold, and preparing it
for casting. 10 minutes; $2.50 a day; S50
purchase.
Audio-Visual Center,
Indiana University,
Bloomington, Ind.
DECORATION
This and the following five films make
up the "Craftsmanship in Clay" series released by Indiana University. Each is under the direction of Karl Martz, wellknown Director of Ceramic Arts at Indiana, and he himself gives the demonstrations.
In "Decoration" is demonstrated the use
MARCH, 1959
clay w o r k i n g - - a l l these have been
captured on film for your viewing
pleasure. And because of such widespread interest C M has compiled an
up-to-the-minute list of these films
for its readership.
There is no big production involved
in obtaining these films. They may be
borrowed, rented or purchased outright. Your neighborhood library is
a convenient source if it has a film
division. It is also a thrifty source as
there is little or no charge for a 24hour period.
Another supplier could be your local museum, university or public
school system. They often are able to
loan or rent their films to interested
outside groups. O r you might contact another craft group in your area:
they might be glad to loan one of the
films they have purchased for the use
of one of yours.
Should none of these institutions
o1" groups be able to fill your requirements there is the c o m m e r c i a l
film rental service. (This is listed
of three basic materials for applying decoration on a clay surface--clay, glaze, and
slip. Mr. Martz also explains the mishima,
sgraffito, and wax-resist methods. Summary includes representative pieces done
by using the three materials. 10 minutes;
under "Motion Picture Film Libraries" or a similar heading in the classified telephone directory.) These
dealers can either supply your needs
or advise where they can be obtained.
Distributors prefer that f i l m - u s e r s
c o n t a c t the nearest audio-visual agency before writing directly for specific
titles, as the films are usually available locally. However, the companies will gladly help you and direct
you to the proper agency if you cannot find the film required. Distributors suggest reservations be made at
least four weeks in advance.
Below we have compiled a complete and u p - t o - d a t e list of such
films--as far as our researching has
been able to determine--with a brief
descriptive paragraph about each. (If
you know of other films of possible
interest to the ceramic-minded, let us
hear about them and we'll investigate
them for i n c l u s i o n in a subsequent revised list).
So choose your films, get your popcorn, announce the curtain time! •
SIMPLE SLAB METHODS
in color; $3 [or five days; $100 purchase.
Mr. Martz takes the viewer through
the steps of forming a candle holder
directly from a lump of clay, rolling a slab
for a simple tile, and constructing a flower container from several pieces of clay.
Correct use of basic tools is emphasized.
GLAZE APPLICATION
10 minutes; in color; $3 [or five days;
$100 purchase.
Presents four methods--dipping, pouring, brushing, and s p r a y i n g - - a n d points
out the advantages of each. Demonstrations include special techniques, proper
preparation of a piece of clay for glazing,
and precise finishing before firing, with
stress on good craftsmanship. 10 minutes;
in color; $3 for five days; $100 purchase.
SIMPLE MOLDS
The latest release in
Martz demonstrates how
from a mold by the sllp
and pressing methods.
the series. Mr.
a piece is made
casting, draping,
10 minutes; in
color; $3 /or five days; $100 purchase.
STACKING AND FIRING
Shows the correct stacking of both green
and glazed pottery in a small kiln and
each step of the firing process. Spectator
is shown the use of stilts and plate pins
to support the pieces, placement of the
ware in the kiln, the use of pyrometric
cones, and the necessity for firing and
cooling pieces carefully. 10 minutes; in
color; $3 [or five days; $100 purchase.
THROWING
Illustrates the forming of pieces on the
(Please turn the Page)
15
mosaicist at work. Produced by the University of California. Rental $12.50.
FILMS ON CERAMICS(t0n't)
wheel, removing from the wheel, trimming the base, forming a foot rim, and
using special throwing techniques in shaping a plate and pitcher. 10 minutes; in
color; $3 [or five days; $100 purchase.
AV-ED
7934 Santa Monica Blvd.
Hollywood 46, California
THE POTTER'S WHEEL
Richard Petterson of Scripps College
demonstrates how to throw pitchers. A
review of fine examples of thrown ware
is given. 10 minutes ; black-and-white
rental, $3 a day, $6 a week; $50 purchase.
Color rental $6 a day, $12 a week; $100
purchase.
SIMPLE CERAMICS
Mr. Petterson shows how to use simple
household utensils for decorating a clay
slab which is later slung in a hammock
mold to make a bowl. 10 minutes; rental
and purchase same as above.
MAKING A MOSAIC
The making of a mosaic from the
original sketch to completion is demonstrated by Ada Korsakaite. Also she
shows the making of h a n d m a d e ceramic
tile roiled and cut from common clay.
Another sequence pictures a 10-year old
making a checkerboard from uniform
squares of commercial tesserae. 10 minutes;
rental and purchase same as above.
Brandon Films, Inc.
200 W. 57th Street
New York 19, N. Y.
CLAY POTTERY
The process of creating pottery, from
the digging of the clay to the finished
product, is shown. Produced in cooperation with the Universal School of Handicrafts, New York. 10 minutes; $2.50 a day;
$50 purchase.
Encyclopaedia Britannica Films, Inc.
1150 Wilmefte Ave.
Wilmette, III.
CLAY IN ACTION
How to sculpture a portrait in clay is
demonstrated by Arturo B. Fallico, of
Chicago Teachers College. Such essentials
as basic measurements," principal planes,
tools, and interpretation are discussed. 12
minutes; $2.50 [or one to three
$50 purchase.
days;
COLOUR IN CLAY
This is the story of modern English commercial pottery. T h e clay is shown as it's
worked at the potter's wheel, and at the
turner's lathe. Afterwards, the pottery is
decorated, glazed, and fired. The film
exemplifies the successful combination of
art principles with modern technological
methods. 11 minutes; in color; $4 for one
to three days; $I00 purchase.
CERAMIC GLAZES
The mixing of an opaque m a t t and a
stone glaze, both showing wide firing
latitude and high color receptivity, are
demonstrated by Richard Petterson. Glaze
application by various methods plus kiln
interiors during firing are shown. 10
minutes;
above.
rental
and purchase
same
as
PRESS MOLD CERAMICS
Using simple tools, Ada Korsakaite
carves a group of figures in plaster of
paris and then presses clay into the carving to form a plaque. Demonstrating the
simplicity of the method a 10-year old
carves and presses several medallions. 10
minutes;
above.
rental
and purchase
same
as
Bailey Films, Inc.
6509 De Longpre Ave.
Hollywood 28, Calif.
THE ABe OF POTTERY MAKING
A demonstration of the coil method of
hand forming. Steps shown are wedging,
making the base, rolling the coils, building the body, finishing and firing. 9
minutes; $3 one to three days; $50 purchase.
Paul L. Brand and Son
2153 K Street, N.W.
Washington 7, D. C.
THE WORLD OF MOSAICS
Beautiful pictures of early mosaics are
shown. T h e story is completed with scenes
of well-known Joseph Young, American
16
POTTERY MAKING
The film describes each step in the making of pottery by four different methods.
A vase is formed on a potter's wheel, an
Indian bowl is fashioned with coils of
clay, a vase is made in a plaster mold,
and a table piece is assembled from patterned slab pieces. Explains how each object is dried, bisqued, glazed, and glazefired. 11 minutes; $2.50 /or one to three
days; $50 purchase.
Paul Hoefler Productions,
1122 Kline St.
La Jolla, Calif.
MEXICAN POTTERS
Pottery making is depicted as part of
the art of living in Mexico. The audience
learns how the native Indian,
the
Spanish-Colonial, and the Modern International cultures influence the Mexican
arts and crafts. 11 minutes; color; no
rental; $100 purchase, including reel, can,
shipping.
International Film Bureau, Inc.
57 E. Jackson Blvd.
Chicago 4, Ill.
CRAFTS OF FIRE
This film depicts the part fire plays in
the making of enamels, glassware, porcelain, pottery,
and
dinnerware.
10
minutes; rental $3.
CHINA CLAY
M a n y phases of the industry are shown
Contact local sources for films (as mentioned on preceding page). If not available wri÷e to the distributor named.
Unless otherwise noted, each film listed is
16ram., black and white, sound', borrower
pays transportation charges both ways.
- - h o w china clay is obtained from pits in
Cornwall, how it is processed and finally
becomes Great Britain's third largest
export of raw material. 11 minutes; rental
$2; $40 purchase.
POTTERY ON THE GOLD COAST
A government training center set up at
Alajo to teach Africans methods developed
by potters in other countries is portrayed.
You see the complete techniques of pottery making from the raw clay to the
finished article. 9 minutes; $2 a day;
$40 purchase.
PUEBLO ARTS
I n this film are many fine "shots" of
Maria of San Ildefonso, the well-known
I n d i a n potter. 11 minutes; in color; rental
$4.50; $100 purchase.
THE POTTER
A University of Southern California
production featuring Otto Heino, famed
potter. This film is useful for art and craft
groups on the secondary, college and adult
levels. 13 minutes; in color; rental $6;
$100 purchase.
ABC OF POTTERY MAKING
A demonstration of the coil method of
pottery making. This film shows the use
of templet pattern, hand tools and the
potter's wheel. Adapted to beginning students in high school and adult art classes.
9 minutes; rental $3; $50 purchase.
STORY OF PETER & THE POTTER
The story of a young boy meeting a
family of clay craftsmen and watching
them carry out the various stages of
molding, shaping, painting, firing and
glazing a bowl. (Elementary and up.)
21 minutes;
purchase.
in color; rental
$4; $85
ENAMELING ART
This film traces the historical development of the enameling art by showing
museum examples of 15th and 16th century Champleve, Cloisonne and Limoges
work. Classroom scenes are shown of students engaged in actual work. This is
recommended for junior and senior high
schools. 12 minutes; in color; rental $6;
$125 purchase.
MOSAIC EXPERIMENTS
This is not merely a "how-to-do-it"
film but deals with the techniques and
elements of smalti, tesserae and blenko
glass. It explores the creative aspects of
youngsters, college students and adults.
Their experiences are demonstrated and
shared. In addition to the structural devices employed in mosaic making the film
shows how texture and design are an
CERAMICS MONTHLY
The~UNDERGLAZE Series
THREE
SATISFIED
CATS
demonstrated by
MARC BELLAIRE
In this series o[ articles, no speci[ic
brand o[ underglaze is either suggested or implied. The nationally
ada'ertised brands are highly competitiz'e in quality and price. Mr. Bellaire's adL'ice is to use those brands
you /eel give you the best results.
T H E S E T H R E E CATS obviously haven't swallowed
their mittens. The satisfied looks on their faces (and the
X-ray views of their stomachs) show they have had much
more substantial meals. This novel and humorous plate
decoration is simple enough for even the novice decorator
to undertake. However, beginners probably will want to
refer to the "Hints on Underglaze Decorations", on page
35, before starting to decorate.
Basic shapes of the cats first are sketched on the
greenware with pencil. The background has been put on
previously, using a sponge dipped in underglaze. The
basic outlines of the cats then are filled in with long,
SWEEPING STROKES are used to fill
in the basic shapes. Rose background
has been sponged on previously.
MARCH, 1959
sweeping strokes of a large water-color brush. (Notice
how the brush in the photograph is loaded to near-dripping capacity.)
Stomachs and their contents are scratched through
the underglaze with a sgraffito tool, as are the eyes, noses
and mouths as well as the whiskers of the center cat. Final
details--like the whiskers of the remaining cats, eye details of all three and the base on which the cats are seated
- - a r e put in last with black underglaze. The piece then
is bisque fired after which it is glazed with a clear glaze
and retired. The finished plate is shown at the top of
the page. ®
THREE CATS are put in with turquoise, black and powder blue underglazes.
SGRAFFITO details are scratched in
and the remaining details are put in
with black underglaze.
17
JIM KREITER ENAMELS
SEPARATION ENAhfEL
how to use it-what it does
A
P O P U L A R M E T A L enameling
t e c h n i q u e - - o n e in which the piece
virtually decorates itself--involves the
use of separation enamel. This is a
good technique for teachers to show
to a class during the early learning
processes. The students can make a
colorful piece with little effort to take
home to show off to the rest of the
family, thus keeping morale high.
Hobby enamelists will also find that
the technique has a value as a means
of making quick, colorful gifts. In the
hands of an enamelist who is an expert in the use of color, the technique
can produce pieces tha.t will evoke
ohs and ahs from even the most critical audience.
Separation enamel is a commercially
prepared black, pasty type of material.
When it is painted on fired enamel
and placed in the enameling kiln it
"eats" its way through the enamel,
making it become more fluid and
causing it to flow in interesting patterns.
Here is the general procedure:
1. Always start any enameling technique by applying an enamel to the
back of the shape (counter enamel).
This is to prevent stresses and strains
which would occur if only the face
was enameled. An easy procedure is
to lay a paper disc in the center and
then dust on the counter enamel. The
paper disc is peeled away leaving the
bare copper bottom. This will make
stilting in the kiln easy. After the
piece is completed a felt disc can be
glued down on this bare copper spot.
The separation enamel technique
requires an overfiring at the very end
so it would be wise to use a fairly
hard enamel for the back and fire
it only gently the first time.
2. The front of the piece is now
cleaned with either acid or copper
cleaner and a clear flux is dusted on
and fired. Be sure you dust on at
least three good coatings of flux; a
heavy coating works best with the
separation enamel technique.
3. On a palette (a glazed ceramic
tile or saucer will do) mound up a
small amount of ground enamel. Mix
this with a rather thick solution of
gum (either arabic or tragacanth) to
make a heavy paste. Work with one
color at a time, cleaning the palette
and tools between colors. Pick up a
small amount of the enamel paste
on the end of the spatula and push
it off in a mound on the enameled
piece with a spreader or other tool.
4. Continue this procedure until all
of the colors you have decided to
work with are mounded in place.
No attempt need be made to
smooth up the colors as you lay them
down. If a small speck falls out of the
design, don't try, to clean it up; when
the piece is finished these specks will
never show.
Now fire the piece just long enough
to harden on the mounds of color but
not too long or at too high a temperature. You do not want the colors to
begin to melt and flow.
5. Here is the tray with all of the
colors in place just after the hardening-on firing. The symmetrical pattern you see is not accidental.
Since the final result is somewhat
uncontrolled, starting with a symmetrical pattern helps maintain order
and some form of design. By dividing
a shape into equal parts and laying
down each color in a controlled pattern you can easily obtain symmetry
and more pleasing results.
6. Each time the piece is fired file
the edge down to the bare copper.
This will prevent a very heavy coating of firescale from developing and
eating its way too deeply into the edge
of the enamel. Proper filing technique
is to hold the piece firmly near the
edge of a worktable and make long
straight strokes with a metal file.
7. Dust on a transparent enamel
carefully covering the entire face of
CERAMICS MONTHLY
1
2
3
1. Apply enamel to back of shape to
preven~ strain.
2. Clean front of piece and dust on
heavy coating of clear flux.
3. Pick up small amount of enamel paste
and mound up on piece.
4. Continue until all colors to be used
are in place.
5. Here is piece after hardenlng-on fire.
Note symmetry.
6. File edge of piece down to bare copper after each firing.
7. Dust on transparent enamel covering
entlre face of piece.
8. Paint on separation enamel cutting
through each mound of color.
i
7
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INTERESTING, free-flowing patterns are easy to obtain with this technique. Af the right is the finished
piece, shown being made above. As an experiment,
the piece directly above was made in an identical
manner but no separation enamel was used. As you
can see, it did not develop a flowing pattern.
MARCH, 1959
i ~
i.'
8
~
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WAX Rt
by F. CARLTON BALL
THE
DECORATING
TECHNIQUE
called "wax
resist" allows a spontaneous expression from the potter
that is difficult to obtain with any other decorating procedure. Perhaps you wonder why. A brief description of
the technique will help explain it to you.
W a x is painted on a piece of potte~7. In effect, it
makes a strong water-repellent stencil. Ceramic coloring
materials, such as engobes, underglazes, oxides or even
glazes, can be painted over the entire pot; however, the
surface will be protected wherever there is wax and it
will be kept free from color. This is how the technique
gets its n a m e - - t h e wax resists the colorant. After firing,
the pot is bare in those places where wax was applied.
If the wax is applied in a certain design, that design
will appear as bare pottery body after firing.
T h e spontaneity I mentioned above comes from the
fact that the liquid wax gives great detail, sharp edges
and is completely versatile. T h e wax flows so freely that
the spirit of the artist lives in the tip of the brush. T h e
colorant material can be applied over the wax, strongly
and evenly, over and over again in as m a n y coatings
as you wish; yet the original freshness of the free brush
work is there, in the form of the wax resist that you
painted on initially. There is no other decorating technique which will allow the potter to apply color over
and over again and still maintain crisp brush strokes.
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~!~!i!~i~!!!~!~!~i!i~!!~@~!~!i~i~!~!~!~@~i~iii~!i!i~!~!~!!~!i
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FIRST T E C H N I Q U E : 1. Several designs are
tried on the pot with water. The final design
is brushed an with colored ink.
20
2. L I Q U I D W A X is brushed on over the ink,
on the dry green-ware pat. The wax will
serve as a "stencil."
~@~
3. T H I N C O A T I N G S of engobe are brushed
an overall with a wide brush, as 'the pot is
turned steadily on a banding wheel.
CERAMICS MONTHLY
. IST
ONE OF MY FAVORITE DECORATING TECHNIQUES
There are m a n y ways to use wax resist. T h e material
in all cases is the s a m e - - a liquid, water-soluble wax
called C e r a m u l "'.4". This can be obtained from m a n y
ceramic suppliers under different trade names; be sure,
however, you get water-soluble liquid wax. I will describe two wax-resist techniques.
DEMONSTRATION
"A"
T h e first photo demonstration shows one of the
simplest ways to use wax resist, namely under an engobe
and then glazed overall. You can follow the step-by-step
descriptions in the accompanying photos.
1. First, I practice sketching on the greenware pot
with clear water and a brush. I make quick brush strokes
on the dry pot to get an idea of what might look well
on that shape. T h e water design lasts long enough to
give a mental impression, then it dries and disappears.
When a good idea of how to break up the surface of
the pot with brush strokes begins to form, I carry the
idea a little further.
I add a little ink to the water and sketch the design
again. T h e ink lasts on the surface of the pot; however,
it will burn away in the kiln so you can paint freely
and without worry. Use very diluted ink first and then
stronger, if necessary.
2. W h e n the design idea is decided upon and spac-
4. BISQUE FIRING burns off the wax. The
paffern stands out clearly--rust engobe on
the light buff pal.
MARCH, 1959
ing properly arranged the wax can be brushed on. T h e
w a x must be applied only to dr), greenware. Many, m a n y
potters forget this; they become so intrigued with the
idea of painting the decorative motif, they paint it on
pottery" that is still wet, and are puzzled and disappointed
when the wax doesn't resist as it should.
T h e wax is soluble in water while it is in liquid
form; however, when the water evaporates, the wax becomes very sticky and can only be dissolved in solvents
such as turpentine or benzene. It seems reasonable to
assume that a material dissolved in water will not dry
if it is painted on a wet surface such as wet clay. It takes
a dry p o t - - d r y and absorbent--to absorb the water from
the liquid wax. Wax applied to a dry pot dries immediately.
T h e beginner might find it helpful to add a colorant such as an ink to the liquid wax so that the design
can be more easily seen as it is painted on the pot. If a
basic design is already painted on the pot in ink (as I
did above) use a contrasting ink for the wax. T h e wax
need only be applied in one coat; in fact, it doesn't seem
possible to ad d a second coat since the wax resists additional coats of wax once it is dried.
3. N o w a colored engobe is brushed on overall. Any
color engobe or slip can be used as long as it contrasts
(Please turn the Page)
5. GLAZE is applied to the outside by spraying and +he inside by pouring, to assure
complete coverage.
6. CLOSE-UP VIEW of the finished pot points
up the interesting bleed-through effect developed in the glaze firing.
21
TECHNIQUE: B-1,2,3.
The first
three steps are the sarne~sketch with ink,
paint wax on, coat with engobe.
SECOND
W A X
RESIST
continued
.
.
B-4. THE ENTIRE POT is now covered with
liquid wax. The wax is transparent, so the
design underneath can be clearly seen.
.
nicely with the color of the clay body. At this point it is
helpful to think ahead a bit about the glaze that will be
used; how the color of the engobe and the color of the
clay body will appear through the fired glaze.
The engobe I used was the same buff clay used for
the body plus 10 per cent iron oxide. This gave a rust
colored engobe after firing.
The pot should be centered on a banding wheel or
a potter's wheel and started turning at a slow, even pace.
T h e engobe is applied by using a well-saturated large
brush. It is moved up and down and the spinning pot
virtually coats itself. T h e first coatings should be applied
cery thinly. Thin down the engobe until it is quite watery
and put it on over and over again until a good coating
is built up.
Now a somewhat thicker engobe is applied in the
same manner. It is imperative that the engobe be applied this way and as smoothly as possible. By merely
brushing it on by h a n d using different directions and
different strokes, you will build up thick-and-thin patches
and the result will look clumsy and very amateurish.
If the engobe completely covers all of the waxed
areas, you did one of three things wrong: the engobe
was applied too thickly, especially in the beginning; the
wax was applied to a wet pot; or the wrong wax was
used.
If the pot was dry, the engobe applied in thin layers
and the right wax used initially, the design will remain
quite clear after the engobe is brushed on. O f course,
some drops of engobe will stick to the wax decoration.
Ignore these: during bisque firing they will drop off.
4. The pot is now bisque fired, and the wax burns
off completely, leaving the clear pattern of the colored
engobe outlined crisply against the color of the body.
5. The next step is to glaze the pot. Naturally, a
transparent or translucent glaze should be used; an
opaque glaze would hide everything underneath and all
of the work so far would be covered over.
First, you glaze the inside of the pot by pouring in
22
B-5. A SHARP POINTER is used ÷o outline
the pattern by scratching through the wax,
deep enough to penetrate the body.
a cupful of thinned glaze and rolling the pot around so
that the glaze can coat it completely, and then quickly
pouring the glaze out. This whole process should be done
rapidly enough to prevent thick coatings of glaze from
building up in any one place. Choose a neutral or a
white glaze, or the same glaze you intend to use on the
outside. Do not use a matt glaze on the inside. Sponge
off any dribbles and you are ready to glaze the outside.
Brush, pour or dip the pot to glaze it. Large pots
can be glazed better and faster with a spray g u n - - a s I
am demonstrating here. (Details on the glaze I used are
given at the end of the article./
T h e rust engobe contrasts against the buff body and
bleeds through the glaze to give the interesting effect vou
see in the photo of the fired pot on page 20.
DEMONSTRATION "B"
T o elaborate on this very simple wax-resist method
of decorating, another decoration was made and followed
through with a camera.
B-l, 2, 3. T h e initial steps are the same as those described above. A design is sketched on the dry. greenware
pot using diluted ink. The inked sketch is covered with
liquid wax which has been stained a contrasting color.
T h e pot is centered on a wheel and very thin layers of
engobe are painted on, over and over, until a smooth,
even coat has been built up.
B-4. From here on the technique varies. The entire
pot is covered with wax resist. T h e wax is clear and
transparent so that the design underneath can be clearly
seen.
B-5. A line is now scratched through the wax and
into the body, completely outlining the design areas. A
nail, steel knitting needle, darning needle, or any type of
sgraffito tool will work well. I n the photo, notice how
easily the pattern can be seen through the covering layer
of w a x .
B-6. T h e incised lines are now filled with a dark engobe bv brushing across them with a saturated brush.
T h e coating of wax resists the engobe and it is absorbed
only in the lines which have been scratched through to
CERAMICS MONTHLY
B-6. A DARK ENGOBE is brushed on the
incised lines. Notice how the wax resists the
engobe so only the lines are filled.
B-7. BISQUE FIRING burns off the wax. The
paHern stands out sharply--two colors of
engobe against the buff pot.
B-8. THE GLAZING PROCEDURE is the
same as before~spraying outside, pouring
inside. The fired pot is shown below.
the body. The engobe is soaked up until the lines are
completely filled. This engobe is made from the same
buff clay used for the pot, with additions of 25 per cent
red iron oxide and 5 per cent manganese dioxide. This
will produce a very dark, brownish-black color.
B-7. The pot is now bisque fired burning away all of
the wax a n d clearly showing the decoration we have
built up: a broad design area in red-brown (our first
engobe) outlined with a dark line (our second engobe).
B-8. The same glazing technique (and the same
glaze used on the first pot) is used here. T h e inside of
the"pot is glazed by pouring and the outside by spraying.
The finished pot is shown at the right. This method
of decorating is not as free and spontaneous as the first
one; however, this is a method that should-never fail to
work well. If the first engobe ends up too weak to show
through the glaze, the darker engobe used for outlining
is sure to show. T h e pot will look good if only the second
engobe shows or if both engobes show.
I am working at stoneware temperatures here; however, don't be confused with the thought that this is
limited to any specific type of body or firing temperature.
The wax-resist technique can be used at any temperature
from the lowest firing earthenwares on up. If you are
interested in the glaze I used it is a satin matt, greenish
glaze with dark specks, reduction fired to cone 10:
Glaze MG-2
Parts
Soda Feldspar
1285
Ball Clay
356
Gersele Borate
568
Dolomite
416
Talc
932
Flint
1200
One-third of 1 per cent of a cobalt-chromium glaze
stain was used for color and 3 per cent granular illmenite
was used for the specks.
From the simple illustrations given here any creative
beginning or advanced hobby potter, or serious student,
should be able to develop many ideas and methods for
using wax resist. This is a very versatile decorating technique and is fun to use. T o me it almost assures a successful decoration because the free brushing of wax on the
surface of the pot seems to m a k e a design fit the form. •
MARCH, 1959
23
MAPS
FOR THE CLA.c
Projects in relief map making awaken student interest in geography
and history and make textbook lessons "come to life"
by VERNON and MILDRED SEELEY
1. Tracing reversed map on plaster.
2. Carving border into plaster.
3. Pouring sllp to a depth of 3/8".
4. Trimming the border with a knife.
S. Removing the map from the mold.
6. Decorating wlth underglazes.
CERAMICS MONTHLY
;ROOM
RELIEF MAP of New York State
clearly shows mountainous
regions. All printing and drawings are put on the map after
the casting is made.
Underglazes are used for
decorating the piece.
~ . N~~-E A R N
BY D O I N G " is a by- but a larger border would have been
word in education today, and teachers better.
everywhere are searching for ways to
When the tracing is completed, the
make lessons come to life for their slabs are wet quickly under running
students. In the elementary schools, water. Moistening the plaster helps
especially in the upper grades, a great make carving easy. The border and
deal of emphasis is placed on geog- the outline of the map are gouged
raphy and map study. In histol T out first (photo 2), and then the
classes, too, maps play an important mountainous areas. V-shaped tools
role.
were used, and the higher points
By working with the geography and
were gouged deeper. The students
history teachers, the teacher of ceramics can coordinate material covered in these classes with a ceramic m a p
project. Combining clay with map
study will stimulate interest in an}'
grade. The photographs on these
pages show what fifth graders can
do with a relief-map project.
The tools and materials needed for
making a relief map are few and
simple: We used a commercial
plaster slab measuring 9 ~ " x 1 4 ~ pp
(or a stab can be made by pouring
plaster into a baking pan), tools for
texturing and gouging, slip, a small
amount of modeling clay, underglaze
colors, brushes and clear glaze.
When making a plaster mold for a
map, it is necessary to reverse the details so the resulting cast will be a
positive reproduction. This is most
easily done by placing a piece of carbon paper, wrong side up, under the
map and tracing the outline with a
pencil. When the map is turned over,
you will have a negative tracing. Now,
using the carbon in the customary
fashion, trace the negative on to the THREE MAPS from one mold do not have
plaster slab (photo 1). We allowed to look alike. Here are physical, rainfall and
an inch for a border around the map, vacation maps of New York.
MARCH, 1959
textured the highlands with lines and
left the plains at their original levels.
Rivers were marked with single lines.
All printing and names were left for
the casting so they would not have
to be reversed. This also gave the
children more chance for originality.
After all the carving and gouging
is finished, allow the block to dry
overnight.
When the plaster slab is thoroughly
dry, a coil of modeling clay is laid
around the outside edge of the block.
This serves as a dam. Slip then is
poured to a depth of ~ - i n c h (photo
3), and allowed to harden until the
clay surface is dull and not sticky to
the touch.
A knife and ruler are used to cut
off the clay coil around the edge
(photo 4). Then another plaster slab,
or a piece of wood or heavy cardboard, is placed on top and the piece
is turned over. Now the plaster slab
with the incised map is removed
(photo 5). Coils may be placed
around the slab and the mold poured
again for another map.
When the map is removed from
the mold, the student may wish to
add more texture and correct mistakes. Then the piece is dried for
half an hour before the underglaze
decorating is begun. Underglaze may
be brushed on while the m a p is still
damp or when it is completely dry
(photo 6).
After decorating, the maps are
allowed to dry thoroughly and then
they are fired. We stand them on
25
Coil
MAKING
Building
.
the coil cutter . . .
.
.
FORCING
the cutter
through the
clay . . .
EVOLVING
the cell
...
Tool for Making UNIFORM COILS
by PAUL HATGIL
PROJECTS invoMng coil building are
the most interesting type because they
lend themselves to full, creative individual expression. Freedom of form,
and expression of new design, can be
achieved without limitations which
might hinder the idea--such as those
encountered in wheel forming.
However, unless the coils can be
made quickly, much time is consumed
in the attempt to roll out uniform
coils in a professional manner. Since
freshness and spontaniety of idea are
largely dependent upon quick results,
the process of coil building must be
uninterrupted. In my classes we have
discovered that a simple coil cutter a tool which
is most useful for constructing uniform coils quickly
- - c a n be made easily by the students. The materials
required for this tool are few and simple: A wire coat
hanger, pliers, and a pipe corresponding to the desired
coil dimension.
T o make the coil cutter, cut the hanger at both ends.
Then, with the aid of the pliers, wrap or twist the long
wire around the pipe or similar round object. T o eliminate any sharp edges, round and file the ends of the wire.
Now you are ready to put the tool to work.
Using a long, rectangular block of wedged clay, force
the cutter through the clay slightly beneath the surface.
For ease in cutting, you should work with fairly soft clay.
Make sure that the entire area of the coil cutter is filled
with clay, otherwise the coils will not be round. Also
be sure that you force the cutter through the clay in a
straight line. Any twisting or deviation of the cutter during the forcing process will result in a flattened coil. In
order to obtain a coil that will circle the project more
than once, wedge the clay into the longest rectangular
block possible.
26
Once the coils are made, you are ready to begin
your project in coil building. However, certain precautions are needed to insure a firm bond between each coil
as it is added to the piece. Applying slip, wetting or scoring each coil before adding another will help to make
the coils adhere to each other.
In finishing the piece, you may smooth the surface
of the form, or it can be scored for texture. However,
you may wish to allow the coil-making process to retain
its own character in the finished piece so that each
C O I L - B U I L T POTS made by students of the author. Three pots were
smoothed off, but the one at left was allowed to retain its coil-built
character.
CERAMICS
MONTHLY
Show Time:
Florida
Craftsmen
MOSAICS
Make
T H E E I G H T H A N N U A L State
Exhibition of the Florida Craftsmen
was held at the Daytona Beach Art
Center November 13-27. The juried
show represented 114 entries chosen
h'om 185 pieces submitted.
Cash and purchase awards went to
Harold Nosti of St. Petersburg for his
mosaic "Matadors": Melvin Casper of
The Merritt Island Pottery for his
"'Low Bowl"; Ann Ritz of Sarasota
who received the Thomas C. Thompson 1st prize award for he,- enamel
montage "The King"; Anita Fletcher
of Miami Beach who was awarded the
Thomas C. Thompson 2nd prize for
her enamel panel "Industry :~2"; and
Hannah Stewart of Clearwater Beach
who received the O. Hommel award
for her "Owl Vase." (See photos.)
Outstanding stoneware pieces by A.
J. Spencer, St. Petersburg, finished
with pigeon blood glazes, received
considerable comment from the jury.
Following the exhibition, selected
items were displayed at the Research
Studio Art Center at Maitland
through December 14. The Florida
Craftsmen were invited to present this O. HOMMEL award-winning stoneware piece
exhibition at the Florida State Fair "Owl Vase" was made by Hannah Stewart,
Clearwater Beach.
and in many cities in the state. •
your
tile
own
tables
and
murals.
We
carry
everything
for mosaic work.
parted
French
and
Italian
Ima nd
mosaic
tesserae,
tiles
brass
and wrought iron table
frames, legs, tools and
grout.
FREE
Color Chart
Instruction Sheets
Price List
LLINI CERAMIC SERVICE
"Quality Ceramic Supplies"
439 N. Wells, Chicago 10, III.
Phone MI 2-3367
II
I
CRAFT
WORKSHOP
• design
• jewelry
•
•
•
•
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enameling
weaving
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In The Smokies
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GRADUATE • UNDERGRADUATE
NON-CREDIT
FULL SESSION
JUNE 1S-JULY 21
HALF SESSIONS JUNE15-JULY 1
JULY 3-JULY21
OUTSTANDING AWARD for mosaics went ÷o Harold Nosfi of St. Petersburg. Mr. Nosti's
mosaic was made of glass and ceramic tile and entitled "Matadors."
MARCH, 19S9
FOR FOLDER WRITE
PI BETA PHI SCHOOL
GATLINEURG, TENNESSEE
27
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F_ACHr--RS
PET
to your ceramic friends
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Watching Children and Enamels Fuse
by Clark
• ..
Compliments
~
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CERAMICS
4175
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MONTHLY
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|
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I
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Please send a Free Copy of
A M I C S M O N T H L Y with my c o m p l i - I
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T
Heiple
with YOUR
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Address . . . . . . . . . . . . . . . . . . . . . . .
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"SEE T H E E N A M E L S bubble
and boil!" . . . "Look, it's as smooth
as glass!" . . . "Why, it even changes
color!" These are just a few of the
remarks overheard from the children
as they started experimenting with
enameling on copper. T h e success of
this creative experience was furthered
by our h o m e m a d e kiln with a mica
window. This allowed the children
to 'fuse with enamel' and become a
part of the entire phase of being in
oneness with the materials they worked with. By looking through the mica
window they can watch the enamels
boil, melt and become smooth.
It should be mentioned here that
all enamels do not boil; but those we
used did for they were made by the
author and were not subjected to the
rigid laboratory refinements you find
in commercial enamels. We felt that
the ordinary kiln, without any device
to see what was going on inside, was
taking m u c h of the value of this art
experience from the child--robbing
the child of his rightful acquaintance
with reality. T h e author designed and
constructed this special kiln for them.
O u r process was of the simplest:
Gone were the dangers of acids and
fumes; and all other limitations you
may have heard about were modified.
We cut the freeform shapes out of
.032 (20 ga.) copper. Sewing machine oil was put directly onto the
copper. Porcelain enamel was sprinkled through a silk stocking sieve directly onto the oil-covered copper.
Glass threads, borax beads, broken
bottle pieces and broken marbles were
very sparingly sprinkled upon the
layer of powdered enamels.
T h e "jewelry creation" was then
picked up with a pair of tweezers,
put on a nichrome spider stilt and
set into the kiln with the aid of a
steel spatula. T h e children all watched their creative efforts through the
mica window of the kiln. My, what
fun to see the sharp, rough edges of
the broken glass or marble soften and
melt into the enamel; to see the
enamel foam and boil and then
smooth out into a creation--the likes
of which has never been seen before.
W h a t a wonderful experience it
was for them! •
YOUR PET IDEA may be worth $10~it
you'll share it! Just send a "Letter to the
Editor" describing one of your favorite
techniques far working with children. Your
letter should be two or three pages long,
typed double spaced, and should be accompanied by two or three clear snapshots or sketches.
I
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28
H O M E M A D E KILN was fabricated from a five-gallon can. The top was cut off, an open:n 3
cut in the face, lightweight insulating brick lined inside and heating elements set in place.
Main feature is the mica window in the door which lets the children watch the enamel melt.
CERAMICS
MONTHLY
Decorative bricks for use both indoors and out will spring
from this project in red brick carving.
Whether young or old, your imagination will run wild
as you carve these moist, unfired bricks
which are ready-to-use as they come from the brickyard.
SCULPTURE in a BRICK
by REINHOLD P. MARXHAUSEN
A V I S I T to the
local brickyard can
provide you with an
,~
excellent new source
:~; ; ;
of prepared clay. In
my classes, we have
discovered that unfired, damp bricks
made of red clay, are
ideal for carving. These solid chunks of clay are all ready
to carve with no mixing and no wedging on your part.
Just be sure to keep the bricks moist.
Damp bricks provide good working material for
the elementary level classes, and also for schools where
the accommodations for clay work are limited. However,
when working with small children, you may wish to cut
the bricks into several smaller pieces since they are heavy
(nearly seven pounds each) when wet. Older groups can
work successfully on the entire brick.
~ ! ~
Carving may be begun in either of two ways. You
may wish to remove the edges of the brick and work from
the outside in; or you can carve within the piece and retain the original shape of the brick. I used the latter
method in making the pieces which are illustrated on
these pages.
Sculptures-within-a-brick have many uses. With a
piece of felt on the bottom,
sculptured bricks make serviceable, weighty bookends.
Or several bricks may be
grouped to form an unusual
lamp base.
Carved bricks also have
many outdoor uses. For instance, bricks personalized
with your name might be
used in fireplaces, garden
walls and many other standard brick constructions. Perhaps you would like to use
characterizations of each
member of the family carved in brick. These could
be either grouped or scattered, in combination with regular red-firing house bricks,
for a truly unique wall, fireplace, or outdoor barbecue.
Once your bricks are carved, allow them to dry very
slowly, since they crack readily. Commercially made
bricks are very dense and, since they have been mechanically de-aired (wedged), they require a long, long time
to dry. Even though they may seem dry on the surface,
the inside wall, no doubt, still will be moist. If they are
put into the kiln in this condition--BOOM!
Commercial bricks are solid and are several inches
MARCH, 1959
29
SKUTT & S O N
Introduce
THE QUALITY WHEEL
You've Been W a i t i n g for . . !
Films on Ceramics
;Continued from Page 16)
integral part of the medium and how difficult and rare mosaic sculpture is made.
20 ~ninutes; in color; rental $12.50; $195
purchase.
MOSAICS FOR ALL
A series of three filmstrips produced
at the Immaculate Heart College, Los
Angeles. This film shows easy and inexpensive means of mosaic making; creating richness through variety in tesserae
and cements; and new experiments w i t h
melted bottle glass. Rental $6 per filmstrip; $18 per set. In color.
cat, and snowman. For use in elementary
school art education. II minutes; rental:
$60 purchase.
LET'S PLAY WITH CLAY: BOWLS
The film begins with rolling a piece of
clay between the hands to make a ball,
then shows h o w t o form this into a variety
of useful shapes--a teacup, saucer, cream
pitcher, sugar bowl, and several decorative
bowls. For elementary school art education. II minutes; rental; $60 purchase.
Society for French American
Cultural Services & Educational Aid
972 Fifth Avenue
New York 21, N.Y.
LES ARTS DE FEU
McGraw-Hill Book Company, Inc.
Text-Film Department
330 W. 42nd Street
New York 36, N.Y.
LET'S PLAY WITH CLAY: ANIMALS
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Write for Fact Sheet, Free Trial Offer
02 OLYMPIA WASH
E l e c t r i c Kilns)
(Manufacturers
of S k u f t
Decals • Molds • Tables * Trays for Tiles
reasureJ
M
MONTCLAIR,
News
NEW
for
JERSEY
Ceramists!
Our business has expanded--we now have 2
studios to serve you. •
DISTRIBUTOR FOR:
Symphony • Virginia Lee Stencils • Greenware
•
Slip and supplies • Kilns • Molds
Dealer and teacher inquiries invited
CHRIS JOHNSON'S
CERAMICS
165 East College A v e .
Westerville, Ohio - - TU 2-3558
144 East Allen Sfreef
Lancaster, Ohio - - O L 3-6774
GLAZES 0
STAINS
COLORS
CLAYS
write for your FREE copy of
"CERAMIC SUPPLIES
and INSTRUCTIONS"
TO
THE T. H. GREENWOOD CO.
DEPT.
C,
NORTH HILLS,
PA.
DEALERS INC~UIRIES INVITED
30
Only the hands are used to make such
simple forms as a bird, pig, rabbit, fish,
The making of pottery, enamels, and
glass. Text of narration supplied. French:
I0 minutes; $3 a day; not for sale.
UN GRAND POTIER
Auguste Delaherche, French potter, designs and makes ornamental pottery.
French; 20 minutes; $3 a day; not for sale.
Separation
Enamel
(Continued from Page 18)
the piece. You'll find that the d a r k e r
transparents w o r k better in the final
pattern. T h e piece is now fired as you
w o u l d n o r m a l l y fire a transparent.
8. N o w the separation e n a m e l is
p a i n t e d on. M a k e sure the lines cut
t h r o u g h every m o u n d of color. P a i n t
it on in a thin line a n d use a symm e t r i c a l pattern. Allow the separation
e n a m e l to dry completely. I f it is not
t h o r o u g h l y dry before firing it will
leave a metallic-like substance in the
b o t t o m of the piece after firing. Setting the piece on top of the hot
e n a m e l i n g kiln will hasten the drying
process. A f t e r it is dry, it is fired at a
slightly h i g h e r t e m p e r a t u r e a n d for a
longer time t h a n you w o u l d normally.
This slight overfiring helps p r o d u c e
the interesting flowing patterns.
T h e p r o c e d u r e can be used on any
shape including deep bowls. T h e
e n a m e l will flow m o r e readily d o w n
a steep side, of course, so d o n ' t b u i l d
up too h e a v y a m i x t u r e of enamels in
the b o t t o m as a pool will form there
anyway. O p a q u e enamels give the
m o r e interesting a n d m o r e colorful
pieces; a f t e r the final firing, transp a r e n t s give a r a t h e r clear effect
a n d only a little color. W o r k i n g with
m o n o c h r o m e s can p r o d u c e subtle a n d
very b e a u t i f u l effects; however, even
strong, c o m p l i m e n t a r y colors will
not a p p e a r too loud aYter the entire
p r o c e d u r e is completed.
O n c e you have tried a few different color schemes a n d a p p r o a c h e s
you m i g h t e x p e r i m e n t a n d see w h a t
TRANSPARENT enamels were used on this
square tray giving a more subtle effec~ than
that obtained with opaques.
you can do in terms of controlling the
design. F o r example, mix opaques
a n d transparents in different ways
or a p p l y the color mounds in different p a t t e r n s keeping a record of
the procedures so that you can duplicate t h e m if you wish.
If you question the role of the
separation enamel, if you w o n d e r if
merely overfiring the mounds would
not p r o d u c e the same effect, refer
to the piece on the b o t t o m of page
19. T h e colors on this piece were put
on in exactly the same way as the
colors on the demonstration piece
shown to its right. T h e only difference was that no separation enamel
was used on this piece; it was simply
covered with a transparent enamel
a n d overtired. T h e color m o u n d s did
move somewhat; however, the interesting flowing p a t t e r n p r o d u c e d when
separation enamel is used was noticeably absent. •
CERAMICS MONTHLY
estions
(Continued ]tom Page 13)
and the piece can then be decorated as you wish. Any
material that will resist water such as wax or liquid rubber
can work.
Q
Many yeatrs ago I did beautiful enamel work on china,
but I am having no success at all with a supply of colors
I bought recently. The colors fire dull, the enamels crumble or pit and often slur until the design is distorted. I
cannot imagine what I am doing wrong, as I have t~ied various application and firing procedures. Can you help me?
Dullness, crumbling and pitting usually result from
underfiring. Enamels should be bright and shiny, they
should not crumble; and the pitted effect should smooth
out if the piece is fired to maturity at the correct temperature. However, slurring definitely indicates that you are
not using the right kind of mixing medium, and this could
be the basic cause of all your troubles. Slurring effects
are obtained with " g u m " mediums which are not suitable on
glazed china.--ZgNA HOLST
All subscriber inquiries are given individual attention at CM; and
out of the many received, those of general interest are selected
for answer in this column. Direct your inquiries to the Questions
Editor; please enclose a stamped self-addressed envelope.
TWO TEXTURES TWO COLORS FOR ONE COAT ONE FIRE
12 EXQUISITE COMBINATIONS OF FLEECY WHITE AND COLOR
AQUAMARINE •
BRIARWOOD •
CHRISTMAS ROSE • CORAL
FOREST GREEN • HARVEST YELLOW - - HELIOTROPE - ONYX
PETAL PINK
•
SMOKE
•
SNOWFALL •
SPRING GREEN
Y O U ' L L BE A S U C C E S S W I T H D U E T !
ORDER NOW[
~-LARGE
2oz. JARS ~ 2 ~
ADD 35c HANDLING CHARGE
2811
WOODBURN
NO COD'S
AVE.
OHIO RESIDENTSADD 3% TAX
CINCINNATI
6,
OHIO
(Continued ]rom Page 9)
with a piece of old outing flannel--polish to a sheen.
When finished the article will look "antiqued", the
crevices dark and the higher surfaces a soft gray. I advise
a good kitchen wax such as used on refrigerators applied
to the bisqued "driftwood" surface. When buffed a soft,
pleasing sheen results besides making the piece more easily
cleaned and dust resistant.
- - E m m a Hudson, Aberdeen, Washington
For More ThoroughDrying
I keep an old metal shelf from a refrigerator on top of
my kiln and place all pieces to be fired next on this shelf.
This allows the air to circulate freely around the pieces
assuring that they will be thoroughly dry before being
placed in the kiln.
---Natalie Hinchlif f e, Cohasset, Mass.
Stilt Protector
No more broken stilts when you take a piece of coyrugated cardboard, about two feet square, and push your
stilts into it. The cardboard may be hung on the wall above
or near the kiln. Use a section of coat hanger wire to
fashion a hook and place it in the center top of the cardboard.
--Lucille Gerbig, Cincinnati, Ohio
MARCH, 1959
•
CRAFT
•
WOODCARVING
BENCH
& RACKS
& SCULPTURE
Dept.CM, 396 Broadway, New York 13, N. Y.
31
CREEK-TURN
DEMONSTRATIONSAND CLASSES
AT THE SHOWS
Columbus
•
Asbury Park
•
St. Louis
Ceramic Shopper
~Continued [rorn Page I l l
these wheels are not shipped with a
splash guard enclosure around top.
This can be added with h a m m e r and
s c r a p lumber. Further information
from Ann Arbor Instrument Works,
725 Packard St., Ann Arbor, Mich.
Safety Guard Hobby Knives
for over 400 original Ludwig
Schmid Models in stock, new
items added continually.
Complete catalogue and price
list, with additional sheet for
dealers, studios, and schools.
$1.00, r e f u n d e d with first order.
Offering a greater degree of protection for hobbyists are the new
X-acto knives with the protective sliding sleeve. This sleeve can be position~.~;~
/
" )
~!"
SCULPTURE
Leaders In
GLAZES
TOOLS
MOLDS
DESIGNS
CREEK-TURN
HAINESPORT
NEW JERSEY
ed and locked into place, either covering the blade completely or exposing
only a segment of the blade. (The
latter is an aid for depth gauging
also.) Shown are both open and closed positions of the aluminum sleeve
protection. X-acto, Inc., 48-41 Van
Dam St., Long b l a n d City 1, N.Y.
Folding Wall Brackets
T h e new D r o p t o p folding
brackets make it possible for
yourselfers to make a wall-hung
that folds flat against the wall
not in use. Takes only minutes
tach any counter-top material
pair of the wall brackets.
Clay
Slip
A safety catch locks tile heavy, rigid steel brackets (made with a furnit u r e finish) in horizontal position
while the table is in use. Droptop
brackets are packaged in a kit containing a pair of brackets, mounting
hardware and a wrench. Cost is $9.95
per kit sent postpaid from Sturdilite
Products, Inc., 2501 Peterson A v e.,
Chicago, Ill.
Write for Catalog--Wholesale & Retail
764 N. MAIN ST.
AKRON, OHIO
Reward Distributor
ART-CRAFT SUPPLIES, INC.
Distributor for
Paragon--Duncan--Drakenfeld
Craffool--Bergen Brush--Hotpack Kilns
Perma-stain--Bee Basch and Lauer Molds
General Ceramic Supplies
180 NW. 62nd St.
Miami, Florida
CATALOG--102
Big Pages!
P r o m p t service on every c r a f t
need. L e a t h e r c r a f t , M e t a l c r a f t s ,
Enameling,
Woodenware,
Mosaic Tile. Ceramics, A r t Supplies, m a n y others. Since 1910. W r i t e f o r free c a t a l o g today.
Dept. C, S A X BROS., Inc.
1111 N. 3rd St., Milwaukee 3. Wis.
plastic arts STUDIOS
Kilns
When writing to advertisers
Please mention CM
!NAMELING SUPPLIES
JEWELRY SETTINGS & FINDINGS especially
for Ceramics
RHINESTONES & BOUTIQUES
PRESS MOLDS & PORCELAIN BLANKS
Full Discounts for Dealers
It's all in our big 112 page fully illustrated Catalog ~ 7 . Only 25c to help cover
handling and postage.
BERGEN ARTS &
300 SW 17th Ave.
32
STUDIO
ALL-CRAFTS"SUPER-MART"
3403 S. M a d i s o n St., Dept. C, Muncie, Ind.
MANUFACTURERS OF
CERAMIC
Box I16 - - Clifton Heights, Pa.
What's Your Interest?
EASIER, BIGGER PROFITS!
Make e x p e n s i v e - l o o k i n g c e r a m i c pieces in
half the time with Plastic Arts N E W
D R A P E M O L D S a n d j u s t m o d e l i n g clay!
Choose f r o m 40 molds. 50c and up, w i t h
i n s t r u c t i o n s . V o l u m e d i s c o u n t s to studios.
F R E E l i s t of D r a p e Molds - - w r i t e today!
Catalog--25c. D i s t r i b u t o r - H a r t ' s S u p e r f i r e !
Model Ceramics
WE H A V E IT
JET BLACK CONTINENTAL BELLEEK
Cone 6 Bisque - - Gone 06 Glaze
P~nts - - Quarts ~ Gallons
R O D ER
wall
do-ittable
when
to atto a
CLAY
ATTENTION ART SCHOOLS, COLLEGES,
S C U L P T O R S . N O W , B U Y S c u l p t u r e Clay
direct f r o m o u r f a c t o r y warehouse. This
clay, w i t h t h e a d d i t i o n of Grog, has a very
nice consistency, p l a s t i c i t y , a n d f i r m n e s s .
Now i t ' s possible to build l a r g e r a n d more
solid f i g u r e s .
MINNESOTA CLAY CO., Dept. 2A
3148 - 10th Ave. So., Minneapolis 7, Minn.
CRAFTS, INC.
Miami, Fla.
CERAMICS
(Dept. CM3)
MONTHLY
Enameling: Hot & Cold Hints
have a perfectly good piece either way, so nothing is lost.
Do not tiy this on antique pieces, please. It is too
dangerous. Most of the time, they cannot stand any more
firings. They bubble up, get dull, and the enamel comes
off completely when such tricks are tried. Repair antiques
in a "cold" way, if possible. Fill in the hole, up to the
level of the enamel, with clear lacquer, nail polish or
something like that. If you can find acetone paint—the
kind that is used to paint on glass and is transparent—
that makes great fake enamel. You can become so expert
on these repair operations that even you will not be able
to find the repaired spot when you see the piece again.
It sometimes is advisable to use the "cold way" on
new pieces too, especially if they have any of these symptoms: 1) If they are overfired already. To avoid catastrophy, do not try to fire them some more. Some pieces
can take just so much firing and no more without being
spoiled completely. 2) If there is a lot of overglaze, forget additional firings or you are inviting disaster. Overglaze looks terrible when overfired. Leaf gold or liquid
gold (or silver) is also dangerous, but if you are clever,
it can be replaced. 3) Pieces with soft solder on them
should not be refired unless every trace of the solder is
completely (and I mean COMPLETELY) removed; or
else the solder will eat through the copper and that can
never, never be repaired.
After writing all this, all I can say is: Never drop
a piece of enamel. When you ship it, pack it very tightly
in a lot of excelsior and corrugated paper so it cannot
move around in the container. And keep it at an even
temperature, in a climate like we would find in Paradise.*
"QUALITY LEADS"
Complete line of Ceramic Supplies
FACTORY REPRESENTATIVES:
« MAYCO
« KEMPER TOOLS
• PARAGON KILNS
• WOLD AIRBRUSH MFG. CO. • LANSHIRE CLOCKWORKS
• ANNE STEARNS PATTERNS
• GARLAND MOLDS
DISTRIBUTORS FOR:
• ZIRCO PRODUCTS
« RHYTHM GLAZE
.GOLD AND
GOLD ERASERS
• ORTON CONES
• PAASCHE AIRBRUSH & SUPPLIES
Molds by Leading Mold Makers
Illustrated Catalogue, complete information and price list
—send 50c DEALER INQUIRIES INVITED
MOLD of the
MONTH
CLOCK
$5.50
#GC-55I 6" High x 8'A" wide
(Ball point Pens with swivel
base are 95c each. Dealer discount. Clockworks to tit $5.25
each)
Garland Ceramic Original Molds
Plus 5% pkg. chg. F.O.B. Greenville, Texas
Closed Sundays and Mondays
Open daily the rest of the week.
GRAND OPENING at our new location . . . come and see us.
GARLAND CERAMIC SUPPLY
DISTRIBUTORS & JOBBERS CERAMIC SUPPLIES & EQUIPMENT
Highway 47, 8 Mi. East of Greenville
Greenville, Texas
P. O. 84?
The Only Ceramic Brush with a Complete
Brush on Both Ends of the Handle . . .
FOR FEATURE
PAINTING . .
LINING . .
VEINING and
Model KW-1
OUTLINING
$147.50 F.O.B. Ann Arbor
a new
POTTER'S WHEEL
•^
•^•^
•^
•^f
if
Rugged welded table
Heavy flywheel
Smoofh action from bronze
and ball bearings
Splashguards at slight
additional cost
Used in private studios,
public schools, and universities
Prompt delivery
Ann Arbor Instrument Works
Since 1934
MARCH, 1959
725 Packard Street
Ann Arbor. Mich.
Information
on Request
Buy Your Beramic Brushes trom these Authorized Distributors:
Brookside Ceramics
Ceramic Art Treasure House, Inc.
3662-64 S. Perry, Montgomery, Ala.
520 Chicopee, Williamansett, Mass.
Art-Croft
Supplies, Inc.
Sue's Ceramics
180 N. W. 62nd St., Miami. Fla.
164 Sunrise Dr., Syracuse 5, N. Y.
Thalia Ceramics
Rainville Ceramic Studio
P.O. Box 205, Norfolk, Va.
19 Vine St., Scotia, N. Y.
Ann Liebau Ceramic Studio
Tori-Tan Ceramic Supply
173 Belmont Ave., N. Arlington. N. J.
962 E. Fulton St., S.E.
Old-Trail Studio
Grand Rapids, Michigan
7021 Bluffton, Fort Wayne, Ind.
Anderson Ceramics Co.
Mayfair Art Supplies
Box 789, Anderson, S. C.
884 Willett, Riverside, R. I.
Olevia Ceramics
Woodcleft Ceramics & Crafts
152 Conklin Ave., Binghamton, N. Y.
42 Woodcleft Ave., Freeport, N. Y •Hazel Hurley Studio
830 Warren Ave., Downers Grove, III.
Beckers Ceramic Supply Co.
426 Lincoln Way West
Ceramic Work Shop
8027 Frankfort Ave., Phila. 36, Pa.
New Oxford, Pa.
or write for special Catalog and Discount Information
BERGEN
BRUSH SUPPLIES
110 Stuyvesant Ave.
Phone: GEneva 8-7018
Pioneers
in
the
Lyndhurst. N.J.
Cable address: BERAMIC
Manufacture
of
Ceramic
Brushf
33
Letters
"SPEEDY SPURS"
(Continued /tom Page 6)
EUREKA!
# I w o u l d like to h a v e y o u s e n d a f r e e
c a t a l o g u e of c e r a m i c s t h a t e x p l a i n s e v e r y thing. I t h a n k you.
FRANK MANCUSO,
Huntington, Sta., L.I.
If I ever find one I'll keep it myself!-Ed.
Contact Trinity
for Superior
CERAMIC and PORCELAIN
CLAYS
REVIVAL OF INTEREST
d
THE MODERN WARE SUPPORTS FOR
Ceeamic C , me/i,9
ONE SIZE Supports all ware. Universally
adjustable. Unbreakable, sturdy, space
saving.
E C O N O M I C A L Saves stacking time and
costs. Outlasts all other stilting devices.
Re-usable indefinitely.
IMPROVE YOUR WARE No more unsightly stilt scars. Eliminates need to dry
foot.
SPEEDY SPURS
Are made of Inconel high t e m p e r a t u r e wire,
welded in a perfect bond, forming tripods
with vertical supporting legs, ' ~ " overall.
See Your Dealer: 6,c per dozen--S7.20 per
gross.
Special Introductory Offer! Send 50c together with your ceramic supplier's name
and address for your trial dozen of new
SPEEDY SPURS.
COLE CERAMIC LABORATORIES
Dept. CM. Gay-Way, Sharon, Conn.
MARYLAND CERAMIC HOUSE, LTD.
DISTRIBUTORS
•
DUNCAN
•
MOLDS •
PARAGON •
3510 Harford Rd.
REWARD
Baltimore lS, Md.
LAMP PARTS
WIRING
DEVICES
WHOLESALE PRICES
CATALOG S0c
LAMP SPECIALTIES
352 Washlngton St.,
Newark 2, N.
v , v v v v
•w•r
v v ~ t r
v v
vvvv'qr'qrv~r'~r
v
J.
I Insfruction--Supplles--Firing Finished and 4
G r e e n w a r e . Distributor REWARD •
DOBE I
GLO & WILLOUGHBY PRODUCTS.
4
I.
HAZEL HURLEY STUDIO
4
[ 830 Warren Ave.
Downers Grove, Ill.
Call WO 8-0719
L. . . . . . . . . . . . . . . . . . .
J(ingspi.
:.
Heavy Kinalloy
H A N D WHEEL
Knurled Stem
Height Trimmer
Will Not Rust
Only
$8.00
(In Aluminum--$7.00)
See your dealer or
distributor or w r i t e :
Gilmour Campbell ~
Dept. C-3
142S8 Maiden
Detroit 13, Michigan
34-
St. Johns, Mich.
# I hope this is merely the first of m a n y
letters to be sent to your fine magazine. I
wish to say h o w m u c h I have enjoyed m y
first issue of C M - - i t w a s g i v e n to m e as
a Christmas subscription ....
My interest
is m a i n l y t h e h a n d p a i n t i n g a n d f i r i n g o f
jewelry ....
Y o u r m a g a z i n e is so i n f o r m a t i v e t h a t I a m s u r e I will b e d o i n g
ceramics in m a n y o t h e r m e d i u m s
and
s h a p e s b e f o r e t h e y e a r is o v e r .
GERTRUDE KIMBLE
Princeton, N. J.
Sculptured Bricks
thick (except where they have been
c a r v e d ) - - a much thicker section than
the ceramist is accustomed to working with. So prolonged drying is a
must. Air drying is not enough. For
absolute safety, [orced drying is needed after air drying. Forced drying can be done by putting the piece
in the oven, on a hot radiator, or on
top of a hot kiln for several days.
The finished sculpture-within-abrick can be glazed--either all or in
part--if you desire. However, if you
wish to use the carved bricks in combination with regular red bricks, it is
best to keep the glazes subdued, using
them only for accent. •
v'~'qr,
CERAMICS
'
# . . . Since receiving my new CM, I
find a r e v i v a l o f i n t e r e s t in m y h o b b y
( c e r a m i c s ) . I h a v e not seen a copy since
1954, a n d a m d e l i g h t e d w i t h i t - - a l l the
g o o d f e a t u r e s of t h e old w i t h n e w o n e s
added,
GRACE M. WOODBURY
Tool for M a k i n g
Coils
BUELL
~
Buy
¢.i,,~\r-~_~
~%~ ~--~/
~:.~\ ~ . ~
{~lr,~/~
j/
KILN
and build your own, at
low cost. Easily assembled at home. Safe, efficient, low operating
cost. Plugs into any
ll0v double
outlet,
Write
for literature
and "Questions & Answe . . . .
Kiln Building." C. M. B U E L L
K I L N S , Box 302, Royal
Oak, Mich.. Tel. LI.
7th Annual Southwest CERAMICSHOW
Fair Park (Garden Center) Dallas, Texas
April 17-18-19 No Admission Chorge
Hours: 2 to 9 P.M., Fri., and Sot.
2 to 7 P.M., Sun.
Sponsored by Southwest Ceramic Assoc.
tar information write: Anita Holcomb,
8718 Redondo Dr., Dallas 18, Texas
When writing to advertisers
Please mention CM
JEAN LEONARD CERAMICS
96-24 Corona Ave.
Corona, L.I., N. Y.
15 E. Hartsdale Ave.
Hartsdale, N. Y.
Distributor of
Glossmati¢--Tru-Fyre--Drakenfeld--Zireo
D u n e a n - - L & L K i l n s - - K e m p e r Tools
Try our Magic Glaze Binder, makes a gal. 50c
Mend-All, greenware & bisque mender 4 oz.
50c. All items plus postage--Catalog 25c.
Gas and Electric
TO 2400 °
W r i t e for
•
•
•
m
individual coil may be seen and felt.
Should the coil-building project be
a large one that must be continued
into another class session, be sure to
keep the upper surface of the piece
moist in order to facilitate the application of additional coils.
You will find that the coil cutter
is not only useful for making pottery
but it is also a boon for ceramic sculpture. It frees you from the burden
of hollowing out solid-buih sculpture.
A useful tool in any sense, it more
than merits the little time and materials needed for its construction. •
KITS
TRENTON,
N.
J.
World's finest
TILES
For Decorating
Superb English Tiles, bisque or glazed,
6" x 6", they're perfect for pleasure . . .
or profit.
ALSO A V A I L A B L E
• TRIVETS,
black • WOODEN
iron, rubber-footFRAMES
ed, for 1 and 2 $ T I L E BACKS and
tiles
HANGERS
• W R O U G H T IRON
FRAMES
Write for FREE DescTiptive
Price List No. C3
SORIANO
CERAMICS, INC.
Long Island City 5, N. Y.
CERAMICS MONTHLY
Beginner's H i n t s on
UNDERGLAZE DECORATION
Unless greenware is properly prepared for the decoration, you cannot do a satisfactory job, regardless of
your ability to decorate. Here are a few basic rules for
finishing and painting greenware.
1. Scrape o[[ all sharp edges [rom the greenware.
Sharp edges are susceptible to chipping and, in the firing
process, glaze pulls away from sharp edges leaving them
unglazed.
9. Remove bumps and depressions by going over the
entire shape with a gritted cloth or gritted sponge. After
this is done, cover the greenware until you are ready to
decorate it.
3. Work on greenware that is clean and slightly
damp. Carefully wipe the piece with a very damp sponge
immediately before decorating. Rub off all fingerprints
and dirt and leave a slightly rough surface. Do not polish
the ware!
4. Use a large, [ulIy loaded brush. Work with the
largest brush the design will permit. Saturate it to the hilt,
so the color flows freely when touched to the piece. In
Whether amateur or skilled artisan . . you'll find the smooth motorized
operati . . . . . . . . .
o.f control in the BIG, all-steel precision built
MASTER POTTER'S WHEEL enables you to originate beautiful, distinetive pottery excelling anything you've ever done before.
Massive steel construction completely encloses mechanism to exclude clay
and moisture . . . assures operator safety and provides vibration.free
performance. Other features ordinarily found only in expensive wheels
include: pro-lubricated bronze bearings for quiet, long service, con.
venient arm rests, adjustable wedging wire, large 18 ~ throwing table
with plenty of working space and a removable water cup. 10" throwing
head has joggles for easy centering, undersid . . . . . . . . .
for casting
plaster bats.
You h . . . . . .
plete hand freedom at all ti . . . . . .
smooth instant
change of speed from 30 to 1~0 rpm is controlled by a foot pedal.
Easy to use. even for handicappo:l persons. Use any 1/4 HP motor.
Standard V4 HP motor $16.9~ when purchased with Master Potter's
Wheel.
Floor Model. I t e m 47b, W t . 90 lbs. L i s t s at
$175.00--Factory Price .....................
$94.50
Bench Model. I t e m 47a, W t . 45 lbs. L i s t s at
$125.00--Factory Price . . . . . . . . . . . . . . . . . . . . . . . . .
10 DAY MONEY BACK GUARANTEE
VIASTER MECHANIC Mfg.-Ce
Dep'L
order for it to show after firing, a generous amount of
underglaze color must be applied to the surface.
5. Keep underglaze colors su/[iciently fluid. Since
they have a water base, prepared underglazes will dry
out. However, adding a small amount of water will bring
the underglaze back to brushing consistency.
6. Make long, sweeping strokes with a [ully loaded
brush. Practice the fundamental brush strokes on news-
Y-39, B u r l i n g t o n , W l s .
ii::ili::i::iiiiii?::::
:::::::::::::::::::::::::::::
-.-.- -:~::i
:~:i:i:~:i:?;:~:~:
:::::::::::::::::~
!:~:i:~:?!:!::
:!:i
::::::::::::::::::
ii::i::i::i!i!:f.i::i~i!
iiiiiiiiii'.~iiiiii
;;::5:::5
ii ~: i:: i~
::::::::::::::::::::::::::
{:::}:::::::::::::::
% ~!!!!!~!i!.':
@i~ili
~
.....:~
$69.9S]
]
For Better
More Consistent
Results
ORTON
Standard Pyrometric
paper, and then learn to put them together in combinations.
7. Put in the large areas o[ the design first, using the
free-brush technique. Start with the basic shape and work
up from there. This "sets the stage" for the design, both
in symbols and placement.
8. I[ you make a mistake, don't panic. Perhaps you
can cover it up by readjusting the design. However,
if you decide it must go, you can scrape off the underglaze with a sharp knife, using a gentle side-to-side motion. Or if you are dissatisified with the entire decoration,
use a fairly wet sponge to completely clean off the greenware. a
MARCH
1959
CONES
O r t o n cones a r e y o u r guide to m o r e u n i f o r m l y
f i r e d ware. H e r e is a leaf f r o m i n d u s t r y ' s book
t h a t y o u can use. F o r complete details on t h i s
economical control m e t h o d see y o u r d e a l e r or
w r i t e direct.
The E d w a r d O r t o n ,
1445 SummH Street
Jr. C e r a m i c F o u n d a t i o n
--:
Columbus 1, Ohlo
35
Maps for the Classroom
SCULPTURED MATT
A NEW ART MATT SERIES
Completely
unusual.
different m
most
Wholesale & retail catalogues
available.
CALIFORNIA RHYTHM PRODUCTS
(Herman
& Edythe Mathls)
10324 Atlantic Avenue
South Gate, Calif.
JUSTOFF THE PRESS
Send $1.00 for NEW Catalog, which is
refunded on your first Ten Dollar Order.
BEE BASCH DESIGNS
70 Pine & First Sts., Englewood, Fla.
GLAZES UNDERGLAZESSLIP
NEW--Flesh
SPECIALIZED CERAMICS
200 W. THIRD ST.
97
B,rt
underglaze
da,s
edge in the kiln for the bisque fire.
Corrections or additions can be made
with underglaze after the first firing.
T h e pieces then are glazed with a
transparent glaze a n d fired again.
Of course, w h e n m a k i n g a n u m b e r
of maps, you probably will use more
t h a n one mold. But, if you have only
one mold to work with, there is a
faster method for producing a n u m ber of maps. You m a y roll out slabs
of moist m o d e l i n g clay, cut them to
size a n d place them on the plaster
mold. T h e n roll over the piece again
with the rolling pin to pick up the
texture. These pieces may be removed
immediately a n d others made.
We chose the slip m e t h o d because
there is almost no warpage with cast
colored slip, cone 06
W r i t e for FREE literature.
for
(Continued [rom Page 25)
PLAINFIELD,
N, J.
DESIGNS
painting
--
Inn
.oi,days
Anniversaries, Weddings,
Gay 90's, Modern, etc.
Complete Set
postpaid.
Itinerary
(Continued [rom Page 14)
NEw HAMPSHIRE, MANCHESTER
J u n e 24-August 9
the Currier Gallery of Art. Pottery and
sculpture from the current "Syracuse
Show" includes 200 ceramic works from
10 invited European countries and 150
pieces from the United States, Canada
and Hawaii.
NEW YORK, ALBANY
through March 22
GRA-ZLE CERAMICS
Columbus, O.
348 Yarmouth Lane
Tel TR 8-3274
Sub Distributor for: American Beauty
Satins, Glazes ~ Chiffons
Dealer Inquiries Invited
Classes for Creative Ceramists
We have the Greenware, Designs, Supplies
& know how. Dealers for: American Beauty
Sllp & Clay; Galaxy Art Glazes; Tru-Frye
Undarglazes: Fiesta Mi-glazes & Stains; Etc.
Library
Holds
Binder.
a
year's
supply of CM.
Order
day.
yours toPostpaid.
$3.50
Ceramics
4175 North High St.
FRANCOISE
Monthly
Columbus 14, Ohio
CERAMICS
Distributor for: American Beauty Glazes
Bee Basch and Ludwig Schmid Molds
Dick Fairchild and Charles Houston,
Hobby Molds
We stock Mack overg[aze ~ California molds
Duncan E-Z Flow produc~s--Paragon Kilns
113--49th St. So.
St. Petersburg 7, Florida
36
"Designer-Craftsmen, 1959", sponsored
by the York State Craftsmen. Albany
Institute of History and Art.
NEW YORK, KENMORE
May 17
Kenmore Ceramic Guild's Ninth Exhibition. At Memorial Hall, 3354 Delaware
Ave., Kenmore. Twenty categories.
Hours 3-8 p.m.
NEw YORK, NEW YORK
through M a r c h 8
the Metropolitan Museum of Art. Pottery and sculpture from the current
"Syracuse Show" includes 200 ceramic
works from 10 invited European countries and 150 pieces from the United
States, Canada and Hawaii.
NEW YORK, ROCHESTER
April 1-22
"British Artist-Craftsmen", Smithsonian
Institution Traveling Exhibition at
Rochester Memorial Art Gallery.
TEXAS, DALLAS
April 17-19
Southwest Ceramic Association Show in
the Dallas Garden Center building at
State Fair Grounds.
VERMONT, BURLINGTON
May 5-May 27
The 1959 New Hampshire Craft Exhibition, sponsored by the League of
slabs. W h e n using modeling clay for
a piece this large, there is always
some warpage.
Although these maps are m a d e
from the same mold, they n e e d n ' t
look alike when finished. I n fact, they
d o n ' t even have to show the same
things. Illustrated are three maps of
New York S t a t e - - a physical map, a
rainfall m a p a n d a vacation m a p - - a l l
cast in the same mold. Yet none of
them look the same. T h e r e could be
m a n y more variations too.
Teachers can use this project to
show the terrain of a local c o m m u nity, or maps can be m a d e to illustrate
the m o u n t a i n s of the world. History
maps can be m a d e to show the locations of i m p o r t a n t battles in the Revolution or Civil War. T h e projects are
endless, relatively easy for lower
grades, a n d satisfying for all ages. •
New Hampshire Arts & Crafts. At Robert
Hull Fleming Museum, University of
Vermont.
WASHINGTON, SEATTLE
M a r c h 8-April 8
Seventh Annual Northwest Craftsmen's
Exhibition. At Henry Gallery, University of Washington.
SUMMER WORKSHOPS
D. C., WASHINGTON
J u n e 12-23
The Catholic University of America.
Workshop to include lectures, demonstrations, practicums and conferences. Write:
Mary Tinley Daly, Public Relations,
The Catholic University of America,
Washington, D. C.
INDIANA, INDIANAPOLIS
J u n e 15-August 28
American Art Clay Company workshops
in ceramics and metal enameling. Two
week courses in each throughout summer. Write American Art Clay Company,
4717 W. 16th Street, Indianapolis 24,
Indiana.
TENNESSEE, GATLINBURG
June 15-july 21
Pi Beta Phi School and University of
Tennessee. Courses offered: Advanced
Pottery (Barbara McDonald, instructor);
Beginning Pottery (McDonald); Metalwork (Marian G. Heard, instructor);
Beginning Enameling (Helen Worrall,
instructor) ; Advanced Enameling (Worrail); Beginning Jewelry (C. Jane Glass,
instructor) ; Advanced Jewelry (Glass) ;
Craft Design (Jean Hemphill, instructor); Weaving (Berta FreT, instructor).
Write to Pi Beta Phi School, Gatlinburg,
Tenn.
WASHINGTON, LA CONNER
June 22-July 31
Fidalgo Allied Arts. Beginning pottery,
master class. Courses: minimum one
week; maximum six weeks. Instructors
Hilary Moth and Louis Hafermehl.
Write: Fidalgo Allied Arts, Box 476,
La Conner.
CERAMICS MONTHLY
people,
places
SO U T HW ES T CERAMIC SHOW: The
seventh annual Ceramic and Hobby
Show, sponsored by the Southwest
Ceramic Association, will be April 1719. The beautiful Dallas {Texas) Garden Center Building located on the
fairgrounds will be the scene of this
show.
Anyone wishing further information
regarding the hobby show or the
Southwest Ceramic Association should
contact Anita Holcomb, 8718 Redondo
Drive, Dallas 18, Texas.
DESIGN Q U A R T E R L Y : A double issue
of Design Quarterly has been published and is devoted to 82 American
ceramists and their work. It is believed
to be the first such complete coverage
of ceramics to be published--a source
book for students as well as professionals. It contains 216 photogTaphs, biographical sketches, information on material and techniques, and philosophical
statements by many well-known ceramists. A limited number of bound
copies have been printed for a more
permanent record.
The magazine sells for $1.50, the
bound book for $2.50. For f u r t h e r information write Miss Meg Torbert,
Editor, Design Quarterly, Walker Art
Center, 1710 Lyndale Avenue South,
Minneapolis 3, Minn.
PENN-YORK DEBUT: The first meeting of the Penn-York Chapter of
Ceramic Leagues, Inc. was held October
11. Forty-one enthusiastic ceramists, all
studio operators and teachers, became
charter members at this initial gettogether. All are residents of New York
or Pennsylvania.
Their plans include a monthly meeting the first Saturday of each month;
to become better acquainted with one
another; acquiring ceramic films; exchanging ideas; have demonstrations by
individual members and to have bigger
and better local ceramic shows.
Officers elected for the coming year
are Olevia Higgs, president; Donna
Warren, vice-president; Beatrice Mead,
recording secretary; Grayce Cuddy, correspov~ding secretary; Sally Westervelt,
treasurer and Dolores Zabinsky, auditor.
J U R I E D COMPETITIONS: The Art
Directions Gallery, 545 Avenue of
Americas, New York City is planning
a series of six juried competitions for
1959. Each jury will award two 2-man
shows in media of painting, sculpture,
MARCH,
1959
&
things
graphics and the ceramic arts.
Juries will be composed of well
known artists, critics and museum directors and there will be a competitive
show every alternate month.
AMONG OUR AUTHORS: Clark Heipie had his first
taste of ceramics at
Iowa State Teachers
College. Later again
at New Mexico
Highlands
University and then at
Penn State. He has
taught on the faculties at I.S.T.C. and
Fresno State College (California).
Children of all ages have been students of Clark Heiple's for 10 years
and he believes in practical application
of the latest concepts of art education.
His article "Teacher's Pet", on page 28
of this issue, is based on this experience.
Creating silver jewelry and enameling plaques is included in his list of
activities.
CERAMIST O PEN S P O T T E R Y : Miss
Betty A. Travis, graduate of the School
of American Craftsmen, has formed
her own company and will specialize in
custom pottery designed by herself.
The Travis Pottery, 218 Third Avenue,
New York, will produce primarily for
quality retail outlets and interior decorators. Miss Travis has won national
and local honors for her ceramics both
as a student and as a studio potter.
THIRD A N N U A L EXHIBIT: The Deep
South Ceramic Club of New Orleans
held their annual exhibit at the American Legion Building October 19. Entries
ranged from delicate porcelain to
simple pottery objects, all made by
members of the club.
Outstanding in the exhibit was a
special display of objects made by
students of the West Bank School for
Retarded Children. The members of
the Deep South Club take pride in
teaching these children ceramics once a
week and the results exhibited at the
show were gratifying, said Mrs. Gilbert
Mansol;, general chairman.
This was the first club of its type in
New Orleans. Since 1955 two other organizations have been started and the
three work together to stimulate interest in the knowledge of ceramics.
President of the Deep South club is
Jewelry holds ~ r m l y in place and can be h a n d l e d
or moved w i t h o u t s p i l l i n g e n a m e l s . Sizes elastic to
many shapes by adjusting stilt to fit jewelry before
enameling. Size: 3/4" .15; ! " .20; 11/4" .25; 13/4" .30.
Trial Pack of 6 $1.00--Ideal for TrinkeJ JCj.J~s
Other sizes available
P'at. Pend.
Cash with order . . . N o C.O.D.'s
KATJA TUCKER - - 2 0 Franklin St., E. Orange, N. J.
SEELEY'S CERAMIC SERVICE
L e t us help you w i t h your c e r a m i c needs.
We h a v e a complete line of school s u p p l i e s
a n d e q u i p m e n t : slips, clays, colors, kilns,
wheels, tools, brushes, sprayers, pens, a n d
books. Free c a t a l o g u e s to schools a n d cer a m i c t e a c h e r s : Ceramic-Molds E n a m e l i n g .
7 ELM STREET, ONEONTA, NEW YORK
TEACHERS...
W r i t e d i r e c t on school l e t t e r head f o r F R E E l i t e r a t u r e on
C E R A M I C H R O M E o n e - f i r e int r o d u c t o r y colors.
CERAMICHROME
2111 W . S l a u s o n Ave. Los A n g e l e s 47, Calif.
Write for FREE CATALOG
EVERYTHING IN
CERAMICS!
Cla y--Kiln s-~Glaze s--Wheels-~Tools--etc.
ARTS & CRAFTS DISTRIBUTORS, INC.
9520 Baltimore Ave., College Park, Md.
Send $3.OO for
Six attractive glazes, 2 oz. size, ppd.
High Fire . . . . Cone 2-3-4-5
Regular . . . . . . Cone 06-05
Exclusively
manufactured by
Leslie Ceramics Supply Co.
13715 San Pablo Ave., San Pablo, Calif.
The largest and most complete
Ceramic end Art Supply Shop in
Western New York.
BUFFALO CERAMIC AND
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437 FRANKLIN ST.
BUFFALO 2, N. Y.
PH: GRANT 4 4 4 2
TOOLS"CLAYS
a most complete selection of ceramic-sculpture--casting tools and materials for
beginners - - s t u d e n t s ' professionals - and o~r famous
3 E L L A R O B B I A CLA'~
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in a few minutes; cuts costs to pennies. Send
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t~~
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catalogue CM 3
37
CeramActivities
Ceramics
Materials and Equipment
SPECIAL PREPARED BODIES
O u r business has been expanded ÷o include all types of c l a y b o d i e s - - v a r i e d colors far slip-casting, throwing and sculpture.
Cones 06 ÷o 8 ( a r t w a r e and stoneware).
W r i t e for special clay sheet.
OUR AIM IS QUALITY
M r s . N i c h o l a s L i c a t a who e x t e n d s a
h e a r t y w e l c o m e to a n y o n e i n t e r e s t e d in
t h e c e r a m i c field to become a m e m b e r .
A t p r e s e n t t h e i r m e m b e r s h i p t o t a l s 45.
M r s . L i c a t a m a y be c o n t a c t e d a t 601
E l m i r a Ave., N e w O r l e a n s , 14.
JACK D. WOLFE CO., INC.
62 Horatio St.
N.Y.C., N.Y.
( W A 4-6019)
Wholesale and Retail
1HE
POTTED
POTTER
COMPLETE
LINE
OF
CERAMIC,
COPPER
&
MOSAIC
TILE
SUPPLIES.
INSTRUCTION,
FIRING.
AND
CUSTOM
DESIGNED
ORDERS.
628
GATESST.
PH: 2-3819
AURORA,
ILL.
l F
ree
! W.teorthenew ]
Book,is,Toao,
cM
The Famous
KLOPFENSTEIN
POTTER'S WHEEL
Write for FREE information
H. B. KLOPFENSTEIN & SONS
R.F.D. ~ 2
JO
2513
Dept. A
Cresfllne,
ART'S
STUDIO
BLADENSBURG
WASHINGTON
17,
Ohio
D.
C.
RD.
-
N.E.
LA
9-2282
Greenware~Firing--lnstructions
Creek.Turn D i s t r i b u t o r
OPEN
1 TO
9 P.M.
CLOSED
SUN.,
MON.
OFFICERS ELECTED: The Greater
St. L o u i s H o b b y C e r a m i c s A s s o c i a t i o n
h e l d its t h i r d m e e t i n g D e c e m b e r 16. A t
t h i s m e e t i n g election of o f f i c e r s w a s
h e l d w i t h t h e f o l l o w i n g h o l d i n g office
f o r 1959: P a u l E m i g e r , P r e s i d e n t ; Doro t h y R i t t e r , Vice P r e s i d e n t ; F r a n k
Reed, T r e a s u r e r ; a n d Stella Miller,
Secretary.
SYRACUSE SYMFOSIA: The Third
A n n u a l S y m p o s i u m C o n f e r e n c e on Crea t i v e A r t s E d u c a t i o n will be h e l d in
Maxwell Auditorium, Syracuse University, ( N . Y . ) J u l y 28-30. T h e s y m p o s i a
a r e s p o n s o r e d by t h e U n i v e r s i t y Division of t h e S u m m e r S e s s i o n s a n d end o r s e d by t h e All U n i v e r s i t y School of
E d u c a t i o n a n d t h e School of A r t . T h e
principal speakers are deeply concerned
w i t h t h e s i g n i f i c a n c e of i n d i v i d u a l creativity and psychological health and
t h e i r topics will deal w i t h t h i s a s p e c t .
T h e s y m p o s i a a r e o p e n to s t u d e n t s ,
f a c u l t y a n d to t h e g e n e r a l public w i t h out c o n f e r e n c e fee. I n f o r m a t i o n a n d
a d v a n c e copies of t h e p r o g r a m m a y be
o b t a i n e d b y w r i t i n g to Dr. Michael F.
A n d r e w s , D i r e c t o r of t h e A n n u a l S y m p o s i u m C o n f e r e n c e , 32 S m i t h Hall,
S y r a c u s e U n i v e r s i t y , S y r a c u s e 10, N.Y.
STOP! STOP! STOP!
at Pale Ceramics
Symphony
Products
-
Do-All
Tools
-
Butcher
Clay - Marx Brushes - Skutt and Norman Kilns
Large Selection of Greenware
Wholesale and Retail
2907 16 Street
Maline, Illinois
The following back issues of Ceramics
Monthly are still available at sixty cents
per copy (Ohio residents add 3~/c sales
tax). We pay postage.
1953
July, August, October, December
1954
March, July, August, November, December
1955
July,
August, October,
November.
December
1956
May, June. July, August, October,
December
1957
April. May, June, July, August, September, October, December
1958
April,
June,
September,
October,
November
1959
January. February
Please send remittance (check or money
order) with list of issues desired.
CERAMICS MONTHLY
4175 N . H i g h St.
C o l u m b u s 14, Ohio
38
FIRST PRIZE RIBBON
in the Children's
Di-
vision of the third annual N e w Orleans
Recreation D e p a r t m e n t ceramic exhibit is
presented ÷o C y n t h i a Ann Wilson.
Also
shown are Mrs. Bernice Sabrier, N O R D arts
and crafts supervisor, and G. Gernon Brown,
N O R D executive assistant director.
MARY GROHSDECALS
P. O. BOX 34 WEST ORANGE,
NEW JERSEY
MARCH 1959
American A r t C l a y C o m p a n y . . . . . . .
Ann A r b o r Instrument Works . . . . . . . . .
Arts & Crafts Distributors, Inc . . . . . . . .
A r t - C r a f t Supplies . . . . . . . . . . . . . . .
8
33
37
32
B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . .
13
35
32
33
36
37
Basch, Bee, Designs . . . . . . . . . . . . . . . . .
Bergen Arts & Crafts . . . . . . . . . . . . . . . .
Bergen Brush Supplies . . . . . . . . . . . . . . .
Buell Kilns . . . . . . . . . . . . . . . . . . . . .
Buffalo C e r a m i c Supply C e n t e r . . . . . .
C a l i f o r n i a Rhythm Products . . . . . . . . . .
36
Campbell, Gilmour .................
34
C e d e r b o r g , Ntis, Associates . . . . . . . . . .
11
Ceraml Center ....................
31
Ceramlchrome ......................
37
Cerami Corner ....................
4
C e r a m i c Expositions, Inc . . . . . . . . . . . . .
10
C e r a m i c N a t i o n a l Show . . . . . . . .
Cover 2
Cole C e r a m i c Laboratories . . . . . . . . .
34
Craffools, Inc . . . . . . . . . . . . . . . . . . . . . . .
31
Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . . .
32
Drakenfeld & C o . . . . . . . . . . . . . . . . . . . .
Duncan C e r a m i c Products . . . . . . . . . .
7
6
Francoise Ceramics . . . . . . . . . . . . . . . . .
36
G a t e C e r a m i c Supply Co . . . . . . . . . . .
G a r l a n d C e r a m i c Supply . . . . . . . . . . . .
G e r b l g , Lucille, Ceramics . . . . . . . . . . . .
G r a - Z l e Ceramics . . . . . . . . . . . . . . . . . .
Greenwood, T. H., C o . . . . . . . . . . . . . . .
Grohs, M a r y , Decals . . . . . . . . . . . . . . . .
14
33
36
36
30
38
H a m i l t o n Molds . . . . . . . . . . . . . . . . . .
H o l l a n d M o l d Shop . . . . . . . . . . . . . . . . .
Hommel C o . , 0 . . . . . . . . . . . . . . . . . . . .
House of Ceramics . . . . . . . . . . . . . . . . .
Hurley, Hazel, Studio . . . . . . . . . . . . . .
13
4
Illini C e r a m i c Service
27
9
3
34
..............
J. M. Treasures . . . . . . . . . . . . . .
Jo Art's Studio . . . . . . . . . . . . . . . . . . . .
Johnson's Ceramics, Chris . . . . . . . . . .
30
38
30
Klopfensteln, H. B. & Sons . . . . . . . . . . .
38
L & L Mfg. Co . . . . . . . . . . . . . . .
Cover 3
Lamp Specialties . . . . . . . . . . . . . . . . . . .
34
Leonard, Jean, Ceramics . . . . . . . . . . . .
34
Leslie Ceramics Supply . . . . . . . . . . . . .
37
M a r y l a n d C e r a m i c House . . . . . . . . .
M a s t e r M e c h a n i c Mfg. C o . . . . . . . . . . .
M a y c o Colors . . . . . . . . . . . . . . . . . . . . . .
Minnesota C l a y C o . . . . . . . . . . . . . . . . .
M o d e l Ceramics . . . . . . . . . . . . . . . . . . .
34
3S
4
32
32
Orton C e r a m i c Foundation . . . . . . . . . .
3S
Pale Ceramics . . . . . . . . . . . . . . . . . . . . . .
38
Potted Potter . . . . . . . . . . . . . . . . . . . . . .
38
P[ Beta Phi School . . . . . . . . . . . . . . . . . .
27
Plastic Arts Studios . . . . . . . . . . . . . . .
32
Reward . . . . . . . . . . . . . . . . . . . . . . .
Cover 4
Roder C e r a m i c Studio . . . . . . . . . . . . . .
32
Sax Brothers . . . . . . . . . . . . . . . . . . . . . . . .
32
Schmid, Ludwig, Molds . . . . . . . . . . . . . .
32
Sculpture House . . . . . . . . . . . . . . . . . . . .
37
Seeley's C e r a m i c Service . . . . . . . . . . . .
37
Skuff & Son Wheels . . . . . . . . . . . . . . . . .
30
Soriano Ceramics . . . . . . . . . . . . . . . .
34
Southwest C e r a m i c Show
..........
34
Specialized Ceramics . . . . . . . . . . . . . . .
36
Tepping Studio Supply Co . . . . . . . . . . .
32
Thompson, Thomas C., Co . . . . . . . . . . . .
5
Trinity C e r a m i c Supply . . . . . . . . . . . .
34
Tucker, K a t i a . . . . . . . . . . . . . . . . . . . . . .
37
Unique Kilns . . . . . . . . . . . . . . . . . . . . .
34
Wolfe, Jack D., Co . . . . . . . . . . . . . . . . .
38
LARGEST IN THE EAST
OVER 900 decals to choose from. Decal illustrated catalog B0c. Jewelry findings & Medallions catalog 25c.
CERAMICS
MONTHLY
UL A P P R O V E D FOR YOUR
PROTECTION
Ask your local Electric Company or Fire Insurance Company
about the importance of UL approval on any electric appliance.
Others claim that wire and switches are UL approved, but their kilns are
--./[,] --- m[.7_.1.] =1:~-'~-- IN A COMPLETE NEW LINE
- ONE UNIT
20 qualify built, feature packed models from which
to choose• DYNAKILNS feature the patented DYNAGLOW porcelain element h o l d e r s . . . 4-way switches
• . . 2 peep h o l e s . . , pilot l i g h t s . . . a n d they are
~
designed with your safety in mind•
MODEL H-8800
HIGH
i
,74.o
MODEL
E48
TEMPERATURE
° F
. . . using silicon carbide
heating elements.
818-G
Price includes Pyrometer,
Input Control Switch, Gravity Door,
Pilot Light, and Patented Dyna-Glow
Porcelain Element Holders.
Attractive..• Plugs in anywhere!
i
MODEl-
Ch: |mU;e$2s'0: c:a,Ii;: cvharxg:y2,'
ENAMELING
~
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MODEL
I~~
~L!
FURNACES
A complete line of
bench and f l o o r
models available.
E NcanAMAlsoELDol NceramicsGK I L! N
not!
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All steel welded case.., gravity d o o r . . .
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O0
J
anywhere.., attains enameling temperatures
quickly regardless of voltage conditions
no crating charge.
• " "
Chamber size:
elements can not be burned out due to over-firing.
4" x 8" x 8"
*Pyrometer available at $20.00 extra
WRITE
MANUFACTURING
DEALER
FOR
LITERATURE
COMPANY
CHESTER
INQUIRIES
11, PA.
INVITED
and Reward
Whether you need 4 oz. or 40 gallons in ceramic colors and glazes, there is a Reward supplier
nearby to take care of your ceramic needs. Contact any one of these fine people for fast, helpful
service and name of nearest dealer.
See Your Nearest Reward Wholesaler /or Cooperative Service
/. :. ,.1,~ ~ V ~
Ceramics by Olene
1828 Pinson St.
Birmingham, Alabama
Ceramic A r t Treas. House
3658 S. Perry St.
Montgomery, Alabama
Allison Ceramic Studio
20 Arcade SldcJ.
Little Rock, Arkansas
~ ~ L~ ~ © F.,.t~ :
The Shed
1245 Park Street
Alameda, California
The Pottery Mill
1035 D Street
Arcata, California
Dora's Studio
228
- 21 st Street
Bakersfield,
California
Stewart's of California
7140 Firestone Blvd.
Downey, California
S. L. Clutter
131121nqlewood Ave.
Hawthorne, California
Helen's Ceramios
5004 Roseville Road
North Highland, California
Conville Ceramics
San4566Dieqo,30tSt.california
h
Ray's House of Ceramics
8605 E. Los Tunas Dr.
San Gabriel, California
Lee's Ceramics
476 Santa Clara
San Jose, California
Adelle's Ceramic Studio
2602 N. Wilson Way
Stockton, Calif.
Lee's Ceramic Supply
150 Lincoln Highway
Vallejo, California
~ C) L © ~ ~ D ©
Lakewond Pottery
6955 W. Colfax
Lakewood, Colorado
C O N N ~ C T ~C U"
Louis Brandman & Sons
44 Main St.
Norwalk, Connecticut
Sybil Garvin Ceramics
77 Main St.
Portland, Connecticut
"~'A~)4iNC-TO~,
D C
McNor's Ceramic Studio
5113 Georgia Ave., N.W.
Washington, D.C.
FLO~D~
Jadol Arts & Crafts
8965 Biscayne Blvd.
Miami, Florida
The White Studio
301 I N. Tamiaml Trail
Sarasofa, Florida
GEO~i
~.
Potricia Tackabery
3041 Bollincj Way, N.E.
Atlanta, Georgia
Terry Johnstone Studio
1106 W. Lake Shore Drive
Dalton, Georqla
Anna Mary's Cer. Studio
2512 W. 16th Street
Indianapolis 22, Indiana
i O'vV.~,
A r t Craft Studio
1620 Commercial St.
Waterloo, Iowa
~, A N S A ~,
Santner Ceramics
1727 E. Central
Wichita, Kansas
LO U t SI A N A
Collier's A r t Supply
3875 Government St.
Baton Rouge,Louisiana
Ashworth Ceramics
3424 Mansfield Rd.
Shreveport, Louis;ana
~ ~'~R y L,~ ~ ~
Maryland Ceramic House
3510 Harford Rd.
Baltimore 18, Maryland
Alice Lee Ceramics
5229 Pembroke Avenue
Baltimore 7, Maryland
'~ISSOURi
Wellman's Cer. & Gifts
388 N. Jefferson
Lebanon, Missouri
NORTH CAROLINA
Burns' Ceramics
529 Hillsboro Street
Raleigh, North Carolina
CountrY17
KeddySquireBIvd. Ceramics
Fairview, Massachusetts
DA ~ C
Country Club Ceramics
Route 5
Boise, Idaho
~ ! C H ~G A 1~,~
Norwest Novelty Co.
32480 Northwestern Hwy.
Detroit IFarmington), Mich.
Tari-Tan Ceramic Studio
962 E. Fulton St.
Grand Rapids, Mich~qan
3 . ~
Greater Toronto Cer. Ctr.
167 Lake Shore Rd.
Toronto 14, Canada
h~D~N~
Old Trail Studio
7021 Bluffton Rd.
Ft. Wayne, Indiana
N ~ ~ J E R S I~~
Creative A r t Cer. Studio
17 Bridge Street
Chatham, N . J .
Folkart Pottery Studio
1048 Shore Rd.
Linwood, N . J .
Ceramic A r t Studio
172 Kendall Blvd.
Oaklyn, New Jersey
~.~i N N E S O T ~
Joe's Ceramic Shop
606 E. Howard Avenue
Hibbinq, Minnesota
Wohlers Ceramic House
641 Hiqhway 100
St. Paul 18, Minnesota
H ~ v~' A [ ~
Ceramic-s1445
m0fhUn'Ltd'Avenue
Honolulu, Hawaii
Erb's Ceramics
31535 Avenue " E "
Yucalpa, California
N ~ ~ ~ A S ~ ~'*
Pine Street Ceramics
102 West 6fh Street
Grand Island, Nebraska
NEW ~OR~
Olevia Ceramics
152 Conklln Ave.
Binghamton, N . Y .
Skeet's Ceramic Studio
1406 W. Sth St.
Brooklyn, N . Y .
But-El Ceramic Studio
18 Bartlett St.
Ellenville, N . Y .
Westervelt's Ceramics
220 S. Main St.
Elmira, N . Y .
Motor Ceramic Service
Rte. 28, M;ddleville Rd.
Herkimer, N . Y .
Mogensen's A r t & Craft
314 N. Perry St.
Johnstown, N . Y .
Rainville Ceramic Studio
19 Vine St.
Scotia, N . Y .
Ceramic Land
1182 Fulton Ave.
Uniondafe (L. I.) N . Y .
'
~ A S S ~ , C H U ~,FT T ~
Laura's Ceramics
695A Main St.
Worcester, Massachusetts
~ Lt N O i ~
Illini Ceramic Service, Inc.
439 N. Wells
Chicago, Illinois
Hazel Hurley Studio
830 Warren Ave.
Downers Grove, Illinois
Schertz's Ceramic Studio
1201 W. Brons
Peoria, Illlnois
MldwestCeramic Center
502 Southwest Blvd.
Kansas City 8, Me.
WhEre's Ceramic Studio
3343 Watson Road
St. Louis, Me.
E . A . Williams Company
2027 S. Campbell
Springfield, Mo.
NORTH
DAKOTA
Hobbylond and Peg's Cer.
223
Broadway
Fargo.
N.D.
O H IO
Model Ceramics, Inc.
772 N. Main St.
Akron, Ohio
Lucille Gerbig Cer. Studio
4023 Reading Road
Cincinnati, Ohio
California Ceramic Supply
18711 St. Clair Ave.
Cleveland I 0, Ohio
BiI-Lin Studio
2435 S. Dixie (US 25)
Dayton, Ohio
Secor Ceramic Shop
4128 Secor Rd.
Toledo 13, Ohio
O KLA H O M A
Midwest Ceramics, Inc.
5906 S.E. ISth St.
Oklahoma City, Okla.
P E N N S Y L V A N I ~,
Holiday House
711 Newport Rd.
Croydon, Pa.
Vollmer's Ceramio Studio
1723 Paxton St.
Harrisburg, Pa.
Ettore's Ceramic Studio
1490 N. 52nd St.
Philadelphia, Pa.
Hoover's Ceramic Studio
1500 Evergreen Ave.
Pittsburgh, Pa.
Ameigh's Ceramic Studio
1910 Roosevelt Ave.
Willlamspart, Pa.
Burkhardt's Cer, Shoppe
162 Sanborne Street
Wilkes-Barre, Pennsylvania
~ H O O E I S LA N O
Ceram-Art Studio
3001 E. Main Rd.
Portsmouth, Rhode Island
Eva LiHlefJeid
15 Berqin Street
Riverside, Rhode Island
SOUTH CAROLINA
Anderson Ceramics Co.
714 Greenville St.
Anderson, S . C .
TENNE~SE~
Harry's Ceramic Shop
2543
BroadTenn.
St.
Memphis,
Warren & Reese
Ceramic Studio
4017 Outer Drive
Nashville, Tennessee
T EXA
Trinity Ceramic Supply
100 Howell St.
Dallas, Texas
Pink House Ceramics
8650 Ga rland Road
Dallas, Texas
Rountree Ceramic Studio
107 E. Market St. Road
Highland, Texas
U TA H
Utah Ceramics
229 S. 5th East
Salt Lake City, Utah
V I R C=I N I
rhalia
VirginiaCeramics
Beach Blvd.
Lynnhaven, Va.
Dill-Hawk Ceramics
R.F.D. 2, Box 436
Roanoke, Va.
WA~Hih~C~TO~,
Kelsey Ceramics
507 S. Columbia
Olympia, Wash.
Pottery by Dot
408 E. 72nd St.
Seattle 15, Washington
Barth Studio
614 W. Rowan Avenue
Spokane, Washington
Lacjalla Studio
1825 S. Ist St.
Yakima, Washinqton
WISCO~i~
Edgewater Ceramics
4827 W. North Avenue
Milwaukee 8, Wisconsin
Four-G Ceramic Studio
101 E. Blackhawk Avenue
Prairie Du Chien, Wis.
Waucjh's Ceramic Studio
Route 3
Tomah, Wisconsin

Here - Ceramic Arts Daily

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