Ceramics Monthly - May 1965

MAY, 1965
M
O
N
T
H
L
Y
60c
MA NU FA CT UR ING
CO MP AN Y
ECONO KILNS
J
,/
.
.
.
Presents
Greetest in Economy
J
Handle on all kilns
I
t
/
Model
K-23
/~
)
~l-tinge
on all k;Ins
Dyna-G Iow
~'~er system
All brick face h
3-Heat s
al[
)n cut-off control
ess steel case
Pee
eacl
Stand on
on all kilns
All
"
face hare
"
/
Dyna-G low
,,lemen t holder
ilements in all rings
;talnless steel case
Pe(
3-Heat
~ord to plug into kiln - no separa te outlet needed
Write for literat ure showi ng compa rison costs
and featur es. See your neares t dealer
L AND I. MANU FACT URING COMP ANY, Depar
tmen't CM, Box 348, Uplan d, Penns ylvani. a
.....~ ~
;
NA TIO NA L CE RA MI C
TRADE SH OW and NC A conference
owners . . . teacher s . . .
Invitatio ns will soon b e m a i l e d to distribu tors . . . studio
. . . b i g g e s t g a t h e r i n g of
s
four d a y s of d e m o n s t r a t i o n s a n d N C A sponsor ed seminar
.
.
.
d
e
l
b
m
e
s
s
a
r
e
v
e
exhibits
maior manufacturers
SEE YOU IN SAN FRANCISCO july 14-19
show:
Partial Iisi of exhibitors who will be in attendan ce at the trade
JacqueJyn Stains
rome
Ceramlch
Alberta's Molds
Ceramics Monthly
allory Paste
Jumar-MLustre
American Beauty
Joygot
CETO
Arnel's Molds
Kay Kinney
Cress Kilns
Atlantic Molds
Kemper Tools
Dobe GIo
Bisq.Wax
Ken Ocorr Molds
Duncan
Ceramic Arts & Crafts
r
Kiln.S|tte
Evenheat Kilns
Ceramic Colors
Lorraine Ceramics
Gore
Ceramic Scope
Brush
Marx
Holland Molds
Ceramic Trade News
C E R A M I C M A N U F A C T U R E R S ASSOC. ,
526 Amerlca n Bank Bldg., Portland , O r e g o n
Idoy¢o
Naffonal Artcraff
Orton Cones
Paragon Kilns
Pemberfon-Neal
Popular Ceramics
Reward-H art
Sheesley's Tools
Skuff Kilns
Western Ceramic Supply
For i n f o r m a t i o n : NATIONAL
May 1965 3
amaco
TWO SPEED ELECTR
OPTION AL STAND
HORIZO NTAL TREADL E
VARIAB LE SPEED ELECTR IC
OPTION AL STAND
potters wheels
S I X M O D E L S L I S T E D IN 6 0 - P A G E C A T A L O G OF
KILNS, WHEELS , CLAYS, GLAZES --FREE ON REQUES T.
AMERICAN
ART CLAY
INDIANAPOLIS,
COMPANY
INDIANA
ROVIN CERAMICS
Pottery Supply
Manufac turers & Distribut ors of the
HAPPY
• FOST ER POTT ER'S WHEE L
•
RAW MATERIALS--
(/
TEACHERS
. • •
RESULTS
Oxides, Clays etc.
• PUGM ILLED & DE-A IRED C L A Y
(Hot-pa cked)
R O - I O G r a y Stonewa re
Cone 8-11
"
08-2
RO-20 Temmak u Stonewa re.. • "
8-11
RO -81 Porcelain . . . . . . . . . . . .
"
8-11
RO-62 Red Sculptur e . . . . . . . .
08-2
All
pugmiile d and de-aired clay is packed in poly bags, 25 Ibs. per carton.
......
RO-72 Stonewa re . . . . . . . . . . . . .
The best /or the Artist-Potter and Sculptor
is supplied by Rovin
WRITE FOR OUR BROCHURE
ROVIN CERAMICS
7456 Fenton St.
Dearborn
Heights,
Phone: L O g a n 3-2906
4
Ceramics Month ly
Michigan
48127
Ever wonder why Reward glazes and colors
are used in more schools and craft centers
than any other brand? The reason is PRETESTING of every batch at the factory before it leaves Maryland . To make results
more certain, colors and finishes are
checked for ease-of-application and foolproof firing characteristics. If you want to
encourage ceramics in your classes or community, insist upon the REWARD brand.
Over 400 colors and textures to suit every
teaching and student requirem ent.
Reward alazes and colors fire at "standard temperat ures" (Cone 06.04) in regular
school and institution kilns. Available in 2
oz and 4 oz iars or economical pint,
and gallon sizes. Write for prices andquart
free
lifereture .
REWARD
CERAM IC COLOR MFRS., INC.
6811 Washington
Blvd., Elkridqe 27, Md.
M
Volume
13, N u m b e r
0
N
H
T
5
L
May
Y
1965
Letters to the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
...........................................
9
Itinera ry
Sugges tions from Our Reader s . . . . . . . . . . . . . . . . . . . . . .
10
Raul Angulo Corone l by Betje Howell . . . . . . . . . . . . . . . .
Making a Slab Plaque by Jean Garrett . . . . . . . . . . . . . . .
12
Ename ling with Liquid Flux by Helen Worral l . . . . . . .
18
16
How To Make Your Own Glazes: Part 4
by Horten se Aronso n and Lisbeth Sehaef fler . . . . . . 22
Cerami c Tessera e---the Easy Way by Roger Moreau . . . . 24
Four Glazes for Cone 014 by Richard Behren s . . . . . . . .
26
Brush Stroke Vocabu lary
demons trated by Mare Bellair e . . . . . . . . . . . . . . . . . . .
27
31
Jewelry from Ename l Lumps by Kathe Berl . . . . . . . . . .
Summe r Worksh ops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
CeramA ctivitie s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
33
Index to Advert isers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
p r e p a r e d f r o m n a t u r a l C a l i f o r n i a c l a y s using
formulas proven by over 35 years of service
to potters and industry.
A new dealer
for
Clays
Wheel
IMACCO
HANDYSTUDIOS
On Our Cover
The textural wall panel and place setting pictured on the cover
are products of the Raul Angulo Coronel pottery workshop in
Los Angeles. Betje Howell' s feature story on this Californ ia
artist-craftsrnan begins on page 12 of this issue. Cover photo
by Bruce Howell.
Editor: THOMAS SELLERS
Art Director: ROBERT L.
CREAGE R
Business Manager: SPENCER L. DAVZS
Circulation Manager: MARY RUSHLEY
Advisers and Special Contributors: F. Carlton Ball; Marc Bellaire; Kathe Berl; Edris Eckhard t; Zena Hoist; John Kenny;
Karl Martz; Ken Smith; Don Wood.
6022 Edgewa ter, CORPU S CHRIST I, TEXAS
Phone: 835-520 1, Area code 512
The complete llne of IMACCO pugged clays may now
be purchased through the HANDY STUDIOS. EIIsworth
and Susan Handy, owners, welcome inquiries from all
potters, schools, and craft centers in the area.
The Pyrome tric Cone Equival ent chart shown below is
the result of conside rable testing in our electric kiln.
QUARRY TILE [Red)
SPECIAL MIX [Buff)
50/50 MIX (Quarry Tile & Special M~x)
SCULPTURE CLAY (Buff)
NAVAJO WHEEL CLAY (Dark Red)
MJSSJON SLIP (Buff)
NAVAJO SLiP [Red]
(Light Cream]
STONEWARE ~;tS
[Light Brown)
STONEWARE ~ 9
(Sandstone)
STONEWARE # I - C
{Dark Brown)
STONEWARE #3-P
Cone
Cone
Cone
Cone
Cone
Cone
Cone
Cone
Cone
Cone
Cone
04
I
04
I
04
I
04
[
4
4
f
to
to
to
to
fo
to
to
to
8
10
10
10
8
8
8
12
to 12
to B
to 8
Western Advertising Representative: Joseph Mervish Associates,
4721 Laurel Canyon, Suite 211, North Hollywood, California.
Telepho ne: TR 7-7556, Area Code 213.
The above colors developed from Cone 6 to maximum firing range.
Copyright 1965 Professional Publications, Inc.
$4.S0
2-25# Bags (Min. Sale) $4.80
$1.75 per 25# Bag $1.25 per 25.~ Bag
3 to 79 Bags
$J.55 per 25~ Bag $1.05 per 25# Bag
80 or more Bags
Ibs of clay packed in a heavy tools25
of
* I Bag consists
ture-proof PoJy Bag. 2 Bags per package for shipping.
Quantit y discoun t to dealers and schools.
5. Published
CERAMI CS M O N T H L Y May 1965, Vol. 13 - - No.
ons, Inc. - - S. L.
monthly except J u l y & August by Professio nal Publicati
i g h Street, Columbu s, Ohio
Davis. Pres., P. S. Emery, See.; at 4175 N. Hpost
office at Athena, Ohio,
43214. Entered as second class m a t t e r at theYears
$10; Three Years $14.
U.S.A. Subscrip tions: One Year $6; Two
P T S and illustrati ons
Copyrigh t 1966. All r i g h t s reserved. M A N U S C R Iand
will be considere d
dealing with ceramic a r t activities are welcomedouble-sp
aced and r a n g e
for publicatio n. Manuscr ipts should be typed correspon dence about them
and
pts
from 500 to 2000 words. Send manuscri
Street, Columbu s,
to the Editor, CERAMI CS M O N T H L Y , 4175 N. H i g h
Ohio 43214.
RETAIL PRICES (FOB Downey , Californ ia)
DRY CLAY
*Pugged & DE-AIRED
QUANTITY
INDUSTRIALMINERALS& CHEMICALCO.
836 Gilman St.
•
Berkeley 10, Calif.
•
Phone 524-2100
•
Coda 415
M a y 1965
5
Acclaimed
Everywhere
by
Teachers
and
Professionals
for
Performance
This Nationally
Recognized
Power-Driven
Precision Wheel
only $57.50
IShipped. complete
Less Motor]
Ideal for school, studio, home use . . . The famous B & I
Pottery Maker, first in the field, is still first in value and in
price! Simple operaHon, rugged construction, with all the
versatility required by professional workers! Many buih-in
features . . . ADJUSTABLE arm rests; BUILT-IN water container; VARIABLE speed drive; QUIET bronze and babb~t
bearings; ADJUSTABLE foot-pedal control: UNUSUAL size
range.
Before you buy, Write B & I . . . get full, free details; Pointby-point, we challenge comparison on QUALITY features
• . . Our price is still the best in the field!
B & I Pottery Maker sh~pped complete, less motor, f.o.b.
factory, Burllngton, Wisconsin, for only $57.50.
B & I Mfg. Co. Dept. C. Burlington, Wisc.
"Originators and Makers of famous B & I GEM MAKERS"
•
..
, ,
FREE . . • for
dealers
o n l y . This a t t r a c t i v e
heavy-wire m a g a z i n e d i s p l a y rack is supplied free
to every s~udlo selling single copies of C e r a m i c s
Monthly. It is p a r t of a "full-service" p r o g r a m we
offer c e r a m i c studios everywhere. Learn more a b o u t
this p r o g r a m now
send the coupon b e l o w or
write on your letterhead.
Circulation M a n a g e r
C E R A M I C S ~10 I~T'H LY
4175 N. High St., Columbus, Ohio 43214
Please send us information on your single copy soles
program ~ f o r dealers only.
STUDIO_
ADDRESS
CITY/STATE
...........................................................
6
Ceramics Monthly
LETTERS
Share your thoug hts with other C M readers--b e they quip, query , comm ent or advice. All letters must be signed, but name s
will be withh eld on request. Addre ss: The
Edito r, Ceram ics Mont hly, 4175 North
High St., Colum bus, Ohio 43214 .
THE YEARL Y I N D E X
Could you send m e the c u r r e n t index
issue for the m a g a z i n e s ? S o m e h o w or other
ust
I have lost the one I h a d and a m j
will
about helple ss w i t h o u t it. I hope you
conti nue to print the index yearly !
I h a v e been a subsc riber for nine years
now a n d I appre ciate the qualit y of your
maga zine, the wide s p a n of intere sting
article s, and the up-to -date craft teching
nique s. T h a n k s for all of the inspir
Mrs. E. Luria
article s.
S a n t a Barba ra, Calif.
ERROR N O T E D
I n the J a n u a r y 1965 issue, page 7 in the
by
Lette rs colum n, you refer to a n articl e
ur
o
Y
.
glazes
potted
iron-s
H a r d i n g Black on
the
refere nce says that this articl e is in
F e b r u a r y 1964 issue, b u t since it isn't
there, I would like to know which issue
it is in.
Enjoy Ceram ics M o n t h l y very m u c h - an excel lent publi cation .
Mrs. A.T. Seem ann
article, "Iron Spott ed Glazes," appea red
in the Febru ary 1954 issue o[ CM.- -Ed.
CLEAR AWAY THE COMPLEXITY
I ' m h o p i n g the n e w articl es on glazes
( " H o w to M a k e Y o u r O w n Glaze s") will
o.
clear a w a y the atomi c-emp irical -oh-s
kept
s
a
h
t
a
h
t
glazes
from
ry
myste
chem ical
m e tremb ling like an acoly te befor e their
for
comp lexity . T h a n k you for these a n d
the excite ment each issue bring s.
C l a r e m o n t , Calif.
Sorry , our error / The Hard ing Black
Mrs. J.W. ]enni ngs
Speed way, Ind.
C M publi shed a nine year index (January 1953- Decem ber 1961) in the Janua ry
1962 issue o[ the maga zine. Since that
time, a yearly index has been publis hed
in each Dece mber issue .--Ed .
"HOW-TO"
PLUS " W H O - I S "
W e h a v e been enjoy ing, with increa sing
al
t
n
e h u s i a s m , recen t articl es a n d the gener
g
n
i
d
a
r
g
p
u
of
us)
to
trend (so it seems
instru ction al a n d inform ative conte nt.
M a y I m a k e a sugge stion, howe ver?
Some of the articl es, such as the curre nl
of
series on Glaze Prepa ration , would be
em
great er usabi lity if we could r e m o v e t h
for refere nce w i t h o u t losing part of some
o t h e r articl e (see pp. 22-23 , M a r c h issue
and pp. 19-20 , Feb. issue) .
Y o u r balan ce on " H o w - t o " along with
ain
" W h o - i s , " s u c h as "Pott ers on a M o u n t
look
d
n
a
ciate
appre
we
g
T o p , " is s o m e t h i n
Charles R. Rose
forwa rd to each issue.
Art E d u c a t i o n
of
visor
Super
Elyria ( O h i o ) Publi c Schoo ls
GORGING
ON CM
Almo st m y first act, after r e t u r n i n g f r o m
ail
an e x t e n d e d trip, was to sort f r o m the m
my
m y copie s of Ceram ics Mont hly. T o
disma y, I f o u n d that the D e c e m b e r 1964
was
issue was missi ng. M y d i s a p p o i n t m e n t
quite)
not
t
u
b
(
y
nearl
it
t
a
so keen t h
ng
spoile d m y antici pated pleas ure of gorgi
tion.
collec
the
of
rest
the
on
T o add to the d i s a p p o i n t m e n t , I find
hat
refere nce in later issues to subje cts in t
ating.
frustr
very
is
missi ng issue. T h i s
e
Pleas e find m y missi ng copy a n d restor
subtime)
of
terms
(in
t
one of your oldes
scribe rs to a c o n t e n t e d state of mind.
I h a v e often wishe d I could tell some
gaof those who have writte n for your m a
work
their
help
s
u
o
d
n
e
m
e
r
t
the
of
zine
art
has been to m e a n d the really big p
nd
a
sses
succe
small
y
m
in
d
a
h
e
v
a
h
they
help
to
e
m
g
n
i
p
l
e
h
of
ss
in the larger succe
re,
others . T o n a m e j u s t a few, Mr. Bellai
(oh
t
d
r
a
h
k
c
E
Miss
,
Martz
Mr. Ball, Mr.
h o w I miss h e r ) , Mrs. Perki ns, Mrs. Holtz
a n d at least a n o t h e r half dozen or so.
GLAZECOMB[NAT[ORS
cer ami cs
The Con sta nt Mag ica l Bea uty of fine
glaze
there is nothin g quite like the beauty of a
Ceram ists the count ry over will agree that
ed result s but the real beauty is found in the
finish
the
in
s
combi nation . T h e r e ' s beauty alway
ce such magic al result s. Here' s 3 tried
produ
which
s
glaze
quick and sirfipl e applic ations of
piece.
next
very
your
on
try
to
and prove n glaze combi nation
bisque d dish. apply 3 coats of #615
LEAF DISH in #170 "'Span ish Moss ". To
of dish apply 2 coats of #602
inside
the
To
e.
outsid
the
Mahog any Brown to
tire to cone 06. L e a t Dish is
and
Green
e
Antiqu
coats of #624
Orang e then 3 DM-9
7 Mold.
from Dunca n's
blue and lavend er. To bisque d
TALL VASE is a soft, pastel beauty in white, aqua . To the outsid e apply 2 coats
inside
the
to
vase apply 3 coats ot#64 6 Tahiti Blue
of vase. Now using a coars e metal
of #638 Opaqu e White to the upper sectio n Tahiti Blue over the Opaqu e White
scour ing pad make uneve n daubs of #646techni que. To the base of vase apply
follow ed by #650 Pansy applie d in the same Vase is Dunca n's DM°I 4 Mold.
3 coats of Tahiti Blue. Fire to cone 06. Tall
To bisque d piece apply 3 coats of
HORSEHEAD in #176 "Tore ador Fiesta ". just the head and neck areas now
To
piece.
entire
the
over
Red
se
Chine
#631
fire to cone 06.
apply 2 coats of #612 Cinna mon Brown then
your n e a r ~ 4 n , , . . ~ ,
All glazes mentio ned a r e a v a i l a b l e ~hru
nz.,.:L ... . . . .
.
.
Mrs. O.F. Crow e
East Bridg ewate r, Mass.
May 1965
7
SCHOOLS-CRAFT CENTERS-INSTITUTIONS
have
you
tried
Westwood's
stoneware
cone
5 glaze s?
)color may be added)
W 501 LIDO SATIN (mottled beige) W 504 ITALIAN STRAW
(mottled beige)
W 502 SEMI-CLEARMATT
W 505 POLARBEAR (eggshell white)
W 503 MOONMIST(opaque white)
W 506 HORIZON (opaque white glos.,
16 TRANSPARENT
-
-
-
and
our
Stoneware
Bodi es
SCMO - 10 BROWN (reduction) (cone 10) WC-8 WHITE (cone
6-10)
SCRH BROWN (reduction) (cone 10)
WC-40 BROWN (cone 5)
WC-33-10 BROWN (reduction) (cone 6-10) SCMOBUFF (cone
10)
WC-33 BUFF (cone 6-10)
WC-5 RED (cone 5)
WES TWO OD Ston ewar e is used by leadi ng potte rs
and
ceram ic schools every wher e.
PRICES ON REQUEST
POTTER'S
610 VEN ICE
WHEELS
BLVD.
an d
VENICe,
/
ORTON
Standard Pyrometric
MODE~L
750-S'
list price.. •
w/oArTWTS ~
"//
,
(.ALIrUK~uA
For Better
M or e Consistent
Results
~ry : /'
oyi st /
ripl e
beal
balanGe
KILNS
i
" ~~..... .....
i
:,~g, ) :i:
Capacity may be extended from 610 to 2610 grams
with use of Attachment Weight Set ................ $5.SO
OH
AU
SCA
LECOR
PORSATION~
CONES
Orto n cones are y o u r guide to more 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 indus try's book
t h a t you can use. F o r comp lete detai ls on this
econo mica l contr ol meth od see y o u r deale r or
w r i t e direc t.
Request youT free cop> o| "PTopeT t(es and Uses o| P>~oraet
Tic Cones'"
The Edwa rd Orton , Jr. Cera mic Foun datio n
1445 Summ it S t r e e t
8 Cera mics Monthly
Colum bus, Ohio 43201
ITI NE RA RY
Send your show announcements early:
"'Where to Show," three months ahead
of entry date; "Where to Go," at least
six weeks before the opening.
WHERE TO SHOW
ARKANSAS, WAR EAGLE
October 22-24 The 12th Annual Ozarks
Arts and Crafts Fair is open to exhibito rs
from Arkansa s, Oklahom a, Missour i and
Kansas. Each artist must set up and man
his own booth during the event. Entry fee.
Write: Mrs. Blanche Elliott, Executi ve
Director , Ozarks Arts and Crafts Fair, Inc.,
War Eagle.
D.C., WASHINOTON
October 29-December 13 Tenth International Exhibiti on of Ceramic Art, sponsored by the Kiln Club of Washing ton,
will be held at the Smithso nian Institution Museum of History and Technol ogy.
Media: ceramic s, ceramic sculptur e, enamel, glass and mural design. Open to all
ceramic artists residing in the District of
Columb ia, Delawar e, Marylan d, Virginia
and West Virginia . Jury; Awards ; Entry
fee. Entries due on October 15-16. For
informa tion and entry blanks, write: Mrs.
Ruth Walters , 9512 Midwoo d Rd., Silver
Spring, Md.
FLORIDA, MIAMI
Novemb er 7-30 The Seventh Nationa l
Ceramic Exhibiti on, sponsor ed by the
Ceramic League of Miami, will be held at
the Joe and Emily Lowe Art Gallery of
the Univers ity of Miami. Jury member s
will be Toshiko Takaezu , Frans Wildenhain and Paul Soldner . A listing of entry
informa tion and prizes will be released
later. Inquirie s should be directed to Natalie Lindner , Exhibiti on Chairma n, 1290
S.W. 23rd St., Miami, Florida 33145.
ILLINOIS, WILMETTE
June 26-27 Ninth Annual Edens Plaza
Arts and Crafts Fair, sponsor ed by the
Edens Plaza Mercha nts Associa tion, is a
display and sale of work by artists and
craftsme n from the Chicago area, Wisconsin, Michiga n and Indiana . Entry fee. For
informa tion, write: Mrs. Doris Jirka, Director, Edens Plaza Arts and Crafts Fair,
1925 Waukeg an Rd., Glenvie w, Ill.
INDIANA, INDIANAPOLIS
May 2S-June 20 "Indian a Grafts '65,"
co-spon sored by Indiana Artist-C raftsme n
and the Herron Museum of Art, is open
to Indiana resident s in all craft media.
Jury; Cash awards; Entries due May 3.
For informa tion, write Herron Museum of
Art, Indianap olis.
is limited to dealers, distribu tors and
teachers . Informa tion may be obtained
by writing: D. Donald Lonie, Executi ve
Secretar y, Nationa l Ceramic Manufa cturers Associa tion, 526 America n Bank
Bldg., Portland 5, Ore.
FLORIDA, PENSACOLA
October 18-24 "Geram ic-O-Ra ma" will
be a feature of the Pensaco la Intersta te
Fair held at the Fair Grounds . For information, write : Macquo lyn Jacoby, 317
Bremen Ave., Pensaco la.
FLORIDA, FT. WALTON BEACH
May 22-23 First Annual Ceramic Show
of the Coastal Sands Ceramic Associa tion.
For informa tion, write: Isabelle Longake r,
General Chairma n, 156 Monaha n Dr., Ft.
Walton Beach.
ILLINOIS~ BERWYN
May 1-2 The Great Central Ceramic
League of the Greater Chicago Area is
sponsor ing an art exhibit and show with
the theme "Ceram ics . . . Your Pleasure ."
Continued on Page 11
i eramlc HobbyShow
May 13th - 16th, 1965
Dedicated to the Advance oSthe
V %: ~t~ II'"
new
MAT ERIA LS
Buyers Cards to be honored at the Eastern
and Chicago Ceramic Shows now available
Wholesa le
• . . Write for yours t o d a y . . .
Hours: 12 to 1 P.M. daily.
Hobbyist s and Beginne rs are invited to attend the fabulous "Pagean t of Techniqu es"
from 9 A.M. to 12 Noon daily . . . free
admissio n.
SPECIAL CLASSES
EASTERN CERAMIC SHOW OF 1965
CONVEN TION HALL
ASBURY PARK, N. J.
NATIONA L CERAMIC AMATEUR EXHIBIT
JAMES A. BOICE, CHAIRMA N
25 ABINGTO N AVE.,
MARLTON, N. J.
Please send teaching schedule for Pre-Registered
Classes to be conducted at the 1965 Eastern
Ceramic Hobby S h o w . . . I wish to make a
reservation.
Please send ................ Entry Forms.
I plan to exhibit in the:
NAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
STREET................. ................. ................. ................. .....
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National Amateur Exhibit ........................ (check)
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(please print)
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STREET.........................................................................
CITY & STATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
SPECIAL FOR HOBBYISTS
"
Ceram ic Hobby Throug h Educat ion
CITY & STATE................. ................. ................. ...........
ON
DCJTTFr~ l I M e
CALIFORNIA., SAN FRANCISCO
July 14- 18 The Nationa l Ceramic
Manufa cturers Associa tion presents the
Fourth Annual Trade Show and Conference at the Sherato n Palace. The show
,Via), 1965
9
SUGG ESTIO NS
from our readers
RECLAIMING SLIP
Here is a suggestion that I have found works quite well.
To reclaim clay scraps, simply make them into a slip and pour
it into a pair of old trousers that have the bottoms of the legs
tied securely together. The trousers can be suspended on a stout
line or on a fence until they "drip dry." To remove the clay,
simply turn the trousers inside out and the clay is ready for
wedging and re-use.
--Ron Zimmerman, Bellevue, Wash.
SUBSTITUTE FOR CALIPERS
Calipers for measuring
lids for covered jars may
not always be available in
the small shop or studio. I
have found that the acute
angle cut from a wire
clothes hanger works very
well for this purpose. The
wire is easy to cut and to bend to the exact width needed, and
several hangers may be cut to different lengths to meet the
various needs for measuring.
--Roy Powell, Chico, Calif.
Teacher - Hobbyist - or Crack
Professional . . . the new "Color
Guide" in the latest Thompson
Catalog will delight you. Select
from 233 printed reproductions of
opaque, transparent, opal and
USE FOR FOIL PIE PANS
crackle enamelcolors to enjoy a
greater freedom of color expression than ever before possible.
In addition to enamels, the new
Thompson catalog offers instruction books on enamel work and
glasscraft, tools, copper pieces,
shapes, materials and suppliesall accurately described and pictured for your ordering convenience.
Send in today for your new
catalog and "Color Guide"
offered completely free by Thompson m the world's largest supplier
of art enamel colors for more
than 70 years.
P.S. - - All orders are carefully
and promptly filled and on their
way to you within hours after
receipt.
.........................................................
--R.L. Miller, Lindsborg, Kan.
TO PROTECT BARE
COPPER
If you find that it isn't possible to counter-ename l your
copper shapes all the time, the exposed metal can be protected
and preserved by cleaning it thoroughly, then coating it with
clear nail polish or clear lacquer.
--E.H., Gary, Ind.
TO CALCINE CLAY
i
i
THOMAS C. THOMPSON CO., Dept. CM
1539 Old Deerfleld Rd., Highland Park, III. 60036
Please rusk my FREE catalog of complete
supplies with Color Guide today.
Recently, while engaged in a rather large mold-making
operation, I used up my limited supply of brass shim stock which
is used to create divisions on an original clay model or core piece
that is going to be cast. Desperately searching around my moldmaking area, my eyes fell upon a stack of rigid tin-foil pie pans.
My normal use for these pans (in which frozen pies and pot pies
are packaged) is for the production of small 4-inch to 9-inch
shop bats, which are cast from excess amounts of plaster.
For my current need, I quickly cut up the bottom of one
of these foil pans and supplied myself with an ample supply of
inexpensive stiff shim stock. Later that same day I was trying
to shim a small partially-conic al area and was having trouble
forming flat shims to this round area. Espying the remains of
the pie pan I had cut into earlier, I realized that the pleated,
angular side wall of the pan could be beaten out, cut and used
in this particular area. All initial and subsequent adaptations of
this material have proved most worthwhile and warrant considerations by other mold makers.
enomelincj craft
If your readers ever come across an ingredient called "calcined clay" in a glaze recipe, they should know that this is something they can make for themselves. Calcined clay is just the
regular kaolin called for in most glaze recipes; calcining means
that it is fired to red heat to drive off the chemically combined
water and volatile gases. To calcine kaolin, place a quantity of
the material in a bisqued bowl and fire to about 1500 ° F. If you
don't want to bother with this procedure, calcined clay can be
purchased from most suppliers.
~Mrs. M.C. Houseman, Philadelphia, Pa.
NAME
DOLLARS FOR YOUR IDEAS
ADDRESS
CITY.
. . . . . . .
10
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STATE
ZIP
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Ceramics M o n t h l y
,,
i
!
|
Ceramics Monthly pays up to $5 [or each item used in this
column. Send your suggestions to CM, 4175 North High St.,
Columbus, Ohio 43214. Sorry, but we can't acknowledge or return unused items.
ITIN ERA RY
Continued /rum Page 9
It will be held at the V.F.W. Post 2378,
1529 South Harle m Avenue. For information, conta ct: Mr. Clare nce Riggs,
7022 West 16th St., Berwyn.
ILLINOIS, CALUMET CITY
September 25-2 6 Annu al Show of the
Town and Coun try Ceram ic Association,
to be held at the Amer ican Legion Post
#330 , will featu re an open competition.
Infor matio n about the comp etitio n may be
obtained by writin g: Ruth Metzner, 5251
S. Mena rd Ave.. Chicago, I11.
KENTUCKY, LOUISVILLE
May 27-2 9 Craft Demonstrations by
members of South ern High land Hand icraft
Guild, at The Mall.
•%IAsSACHUS.ETTS, BOSTON
through May 30 "7,000 Years of
Irania n Art," Smithsonian Instit ution
Trave ling Exhibition, at the Boston Museuzn of Fine Arts.
MASSACHUSETTS: FALL RIVER
May Ninth Annu al Natio nal Show of
the Great er Fall River Art Association,
sponsored by the Art Association.
MICHIOAN, BLOO~IFIELDHILLS
through May 9 "Swedish Design Today," Smithsonian Instit ution Trave ling
Exhibition, at Cranbrook Acad emy of Art.
~'IICHIGAN, EAST LANSING
through May 2 Facul ty Exhibition includes ceramics and enamels, at Kresge
Art Center, Mich igan State University.
Continued on Page 36
THE GLAZETHATHAKESTHE DIFFERENCE!
ILLINOIS, CHICAGO
August 20-2 2 The Chicago Ceramic
Show will be held at the LaSa lle Hotel .
For information, write : E. Kane , Box
115, Wilm ette, Illinois.
NEW JERSEY, ASBORY PARK
May 13-1 6 The 13th Eastern Ceramic
Hobby Show will be held at Conv entio n
Hall. For inform ation , write Jerry Casque,
Director, Ceram ic Expositions. Inc., Convention Hall, Asbury Park, New Jersey.
-"-
•
OHIO: CINCINNATI
June 5-6 Second Annual Ohio Valley
Ceram ic Show of Great er Cinci nnati , at
the Hotel Alms Ballroom. For inform ation
write : Clyde and Edna Riege r, 6718 Savanna h Ave., Cinci nnati , 45239.
• ,...i..
e e e e o .el .- .o., D ,
f
.e
• .e • e.
. . o.. l ~. . ..l , e
•
.
.
OHIO, COLUMBUS
September 10-1 2 Fourt h Annual Ceramic Festival, sponsored by Ceramics
Anonymous, will be held at the Youth
Center, Ohio Exposition Center. Infor mation may be had by writin g: Mrs. Carol e
Donnelly, 1514 Picard Rd., Columbus 27.
PENNSYLVANIA~ CASTLE SHANNON
May 1-2 The Western Pennsylvania
Ceram ic Show Workshop is holdi ng its
first exhib it at Castle Shan non's Firem en's
Mem orial Hall, seven miles from downtown Pittsburgh. There will be comp etitiv e
entries and exhibits, as well as demonstrations. Write : Paul W. Ivill, Show
Chair man, 3727 Poplar Ave., Pittsburgh,
Pa. 15234.
WHERE
TO
MAYCO COLORS /
GO
CALIFORNIA, PASADENA
through May 9 Calif ornia Design IX,
a trienn ial exhibition of objects for domestic use by Calif ornia artists. At the Pasadena Art Museum.
CONNECTICUTj -~ORWICH
"Con necti cut %5,"
through May l
of the Society of
Show
bers'
Mem
al
Annu
Converse Galat
men,
Conn ecticu t Crafts
lery of the Norw ich Art School.
I NDIANA~ INDIANAPOLIS
May 15-16 Talbo t Stree t Art Fair offers
an exhibit and sale of craft work and
paintings by India na artists. Sponsored by
India na Artist-Craftsmen, Inc.
America's
Fines t Color s
• Take
r dust because the finish has gone wrong
Don't let that beautifully shaped piece ga+he
assortlovely
O's
MAYC
with
s
effort
Crown your
a cue from prize-winning master ceramlsts.
genized for
homo
are
s
glaze
O
MAYC
.
finish
t
ment of glazes and be sure of that perfec
fire at Cone 06.
extra smoothness, easier application. They
l Bisque
White Drape • Crystal Clear • Specia
• Art Glazes • Hesffation • Foam t~ •
• Satin Matts • SaHn ag • Accen
as our llne of
Ask far the M A Y C O Color Chart , as well
.
Stroke
One
and
glazes
SO brilliant under
Dealershlps AvalJable
MAYCO
COLORS
H HOLL YWO OD,
10645 CHAN DLER BOUL EVAR D, NORT
CALI FORN IA
M a y 1965
11
Le[t: Mod el [or an eight-]oot sculptur~
commission, by Raul Coronel.
Righ t: Raul Coronel is pictu red in his shop
working on the potter's wheel.
RAUL ANGULO CORONEL
California artist-craftsman,
designer and pottery operator
by Br.TjV. HOWELL
AFTE R
CENT URIE S
OF CONT ROL
by rigid caste systems
whic h sepa rated the craft s from the fine arts,
the contemp orary craft sman has emer ged from
the role of
anon ymo us artis an whos e dext erity in the
man ual arts
was pred icate d on skilled techn iques used for
utilit arian
rathe r than aesth etic purp ose.
Too often in the publ ic mind , trade or hand
icraf t
has been acce pted as syno nym ous with "craf
ts," and oppose d to fine art whic h has been prim arily
conc erned
with the creat ion of beau tiful objec ts rend ered
solely for
visua l enjo ymen t.
Whe ther work ing as hobbyists, studi o potte
rs or in
the profe ssion al field , toda y's craft smen are
cont inua lly
upgr adin g their work , due, perh aps, to the
emph asis
being place d in educ ation on qual ity in desig
n as well as
func tion.
Acco rding ly, t h e y have beco me incre asing ly
awar e
that a soun d techn ical back grou nd is an
inva luab le
laun chin g pad from wkic h their creat ive ende
avor s may
even tuall y be set into the orbit of perso nal
satis facti on
as well as publ ic accla im.
Calif ornia potte r Raul Angu lo Coro nel, owne
r and
desig ner for a large prod uctio n and displ
ay cente r in
West Los Angeles, is a prim e exam ple of artis
t-cra ftsm an
with a soun d back grou nd plus a rema rkab
le one- direc tiona l attitu de - - that of comb ining supe rb craft
sman ship
with origi nal design.
Surp risin gly, Coro nel claim s he was neve r awar
e of
any parti cular talen t in the arts. Born in Baja
in 1926,
and raise d in Mex ico, this youn g craft sman came
to Californi a at the age of 17, enter ing Fulle rton
High School
"to learn to speak and write Engl ish." Havi
ng achie ved
this mod est goal and after grad uatin g he
thou ght he
migh t beco me a doct or "or some one in the
professions."
Inste ad, the unpr edict able. He was calle d to
activ e
duty with the Mari nes, servi ng in the Sout
h Pacif ic for
three years durin g Wor ld War II, then he
retur ned to
atten d the Univ ersit y of Calif ornia at Berkeley
wher e he
recei ved a B.S. degre e.
12
Ceramics Monthly
"A perio d of unce rtain ty follo wed, so I decid
ed to go
to the Univ ersit y of Haw aii for a seme ster,"
he explains.
Ther e Coro nel beca me inter ested in pain ting
and was
invit ed to exhib it at the muse um by the Hono
lulu Art
Association. His self- portr ait won first prize.
Enco urag ed,
Coro nel decid ed to enter Los Angeles State
College as
an art majo r. Ther e he recei ved his B.A.
Prese ntly an
M.F. A. is in progress at the Univ ersit y of Sout
hern Californi a.
As an M.F. A. calls for work in the craft s,
Coro nel
retur ned to Berkeley to atten d the Colle ge
of Arts and
Craf ts. "And ," he says, "as soon as I bega n
work ing with
clay I knew . this was it."
Toda y, Coro nel is natio nally know n for his
hand throw n stone ware . Since 1955 he has man aged
to main tain an exhib ition and work sche dule that woul
d prod uce
a psyc hical block in most people.
Only six and a half ),ears after open ing
his first
work shop , Coro nel has six assistants work ing
on the product ion end. Two of these prod uce hand throw
n ware ,
and the other s atten d to glazing, stack ing the
kilns, pressing, and the innu mera ble oper ation s invo lved
in any successful potte ry oper ation .
His large shop is front ed by a displ ay area
wher e
prod uctio n and one- of-a- kind stone ware objec
ts may be
seen and purc hase d by the public.
The work areas and kiln room are scrup ulou
sly clean
and every section of the plan t is laid out for
a conti nuou s
flow of ware , from the first oper ation to the
final pack ing of stone ware for shipp ing - - an unus
ual sight to
anyo ne fami liar with the typic al disor der of
most shops.
His lines are extra ordin ary in scope, cove ring
a wide
rang e of func tiona l and deco rativ e pieces inclu
ding stoneware cigar ette lighters, dinn er services, imm
ense casseroles, oversize lamp bases, trays, huge gard
en plant ers,
stools and tables for hom e and patio use, foun
tains and
hand some mura ls done in mute d earth tones
and set with
jewel-like trans pare nt glass designs.
Inste ad of conv entio nal casting, all pieces (with
the
l
i
J
Above: Showroom in the Coronel shop features a ceramic and metal tree (center).
Below: Wheel-thrown bells, installed in a shopping center, are from three to seL'en feet high.
exception of ceramic sculpture commissions which are
designed and executed by Coronel) are done by the
press mold method, thus avoiding loss by warping.
T h e remarkable richness and subtlety of color in
tile finished ware is due to a fresh approach in glazing
techniques. T h e ware is first bisque fired, then glazes are
applied, heavy or light, depending on the desired effect.
T h e n slip is set on, either by trailing, dipping or spraying,
again with an eye for a definite result, as no "happy accidents" are encouraged in any of Coronel's operations.
After the glaze and slip have dried, the design may call
for sgraffito or, in some cases, different colored slips.
Then the piece is fired. This unusual and reverse application makes for greater brilliancy in colors; it also
enables the potter to use a wide range of color combinations.
Coronel has developed his own stoneware formula:
and has the clay made to order by a ceramic supply house.
H e has two 50-cubic-foot bisque kilns and a 30-cubicfoot front loader for glaze firing.
Bisque is fired to cone 6 and all glazes are fired at
cone 10. The glazes are standardized and range in color
from cool to warm. There are 24 colors with innumerable
combinations, made from Coronel's own formulas under
supervision.
Techniques cover a vast variety of applications including sgraffito, wax-resist, sponge, spray, slip-trailing,
dipping and brushing.
Many of his designs call for the inclusion of crushed
muhi-hued glass which he purchases in Mexico. When
14
Ceramics Monthly
Right , top: Ceram ic /ounta in, made [or a privat e cornmission, is appro~'imately ten feet tall.
al
Below : Show room displays a group of ceramics: textur
r.
plante
and
lamp
floor
,
wall, table setting, stools
:
great
fired, the areas becom e three dimen sional plane s of
toned
earththe
to
n
ositio
brillia nce - - a hands ome juxtap
Solid
textur ed glazes. No design is just put on arbitr arily.
the
with
udes
concl
it
but
design begins with exper iment
All
taste.
of
licity
catho
and
potter 's contro l of mediu m
ds
metho
ction
produ
by
of Coron el's ware, wheth er made
line.
discip
and
n
izatio
organ
or the artist himse lf, show
Many pieces are design ed for a specia l functi on.
ic
They may be tradit ional forms or expan d to free organ
brings
"It
says,
el
Coron
many -dime nsion al surfac es. As
excite ment into the things we do."
A large portio n of Coron el's origin al stonew are series
ng
is still in dema nd, includ ing decor ative and amusi
quail
the
with
orms
bird-f
heads , quain t textur ed anima ls,
ted
motif , and hand presse d stonew are bas-reliefs, moun
s
fabric
with
ed
cover
s
with epoxy on pre-fa bricat ed panel
fillip.
onal
additi
an
for
d
which are often silk-s creene
In additi on to a comp lete line of mass produ ced
ceram ic sculp ture, there are pierce d stone ware tiles which
are widel y used by archit ects and design ers for facing
e, or
fire-p laces, lendin g intere st to a dull wall surfac
handof
y
variet
ng
amazi
using as space divide rs. The
the
throw n and presse d objec ts that daily pours from
.
detail
in
be
descri
to
sive
Coron el kilns is too exten
The reahn of his activi ty has now expan ded to
bank
heroic -size sculpt ure. A recen t comm ission is for a
stonefoot
eight
the
irl Dallas , Texas . When comp leted,
ware mural will depic t a polyc hroma tic famil y group
unal
set again st organ ic tree forms indica tive of coinm
h.
growt
and
securi ty
Coron el's objec ts have also taken a new direct ion,
that of floati ng sculp ture; functi onal and decor ative,
and
these are design ed to be moun ted in large rotun das
ent.
llishm
embe
as
well
used for illum inatio n as
When worki ng on comm ission s Coron el does all the
l to
opera tions perso nally, from the origin al scale mode
first
are
ers
cylind
are
the comp leted projec t. The stonew
ver
whate
to
hed
stretc
hand- throw n, cut, flatte ned and
made
are
ts
cutou
gic
Strate
maxim um plasti city permi ts.
at
for hangi ng areas, and under cuts are also done
are
forms
the
,
firing
and
g
critica l points . After glazin
assem bled with epoxy and metal dowels.
Becau se of tensio ns which devel op in firing oversi ze
fc.rms, Coron el attem pts to antici pate any "bugs " which
s,
may arise. As he says, "Whe n worki ng on large shape
later."
tions
correc
make
to
go with it, as it's impos sible
Today 's successful artist in any media is an inteand
grated whole perso n who has educa tion, creati vity
of
ple
exam
fine
a
is
el
Coron
lo
direct ion. Raul Angu
to
y
greatl
buting
contri
is
who
today 's profes sional artist
image
public
whose
and
scene
crafts
the conte mpor ary
ago
is a chang ing one. It's a long cry from the not-so -longrmaste
able,
ledge
know
lined,
discip
Bohem ian, to the
ents.
repres
well
so
he
man
crafts
May 1965
15
M AK IN G A SLAB PL AQ UE
by JEAN GARR.ETT
No M A T T E R H O V e E L A B O R A T E or comp licate d a piece
of
ceram ic sculp ture may be, on carefu l analysis of the
technique s it will be found that the piece was const ructed
by mean s of relativ ely simpl e basic techn iques. Many
times a simpl e probl em in the use of a basic techn
ique
will sugge st many more possibilities than were origin
ally
thoug ht possible. Just such a proje ct is the simpl e
slab
plaqu e which , upon comp letion , shoul d sugge st furthe
r
elabo ration s and possibilities at first not appar ent.
The flowe r plaqu e is only a slight depar ture from
a flat slab of clay. In spite of the dimen siona l limita
tions,
there are many possibilities in worki ng with this partic
ular
techn ique. Certa inly there is no end to the type of subje
ct
which can be used. Sever al separ ate plaqu es can be joined
to make a larger , more comp licate d plaqu e. Three
or
more might be comb ined to make a free stand ing threedimen siona l sculp ture. All of the const ructio n shoul
d be
appro ached with freed om and a sense of adven ture.
If
an attem pt d o e s n o t
work out, rewed ge the
clay and start again . Do
not stop after makin g
just one attem pt with
this clay techn ique.
Start by s k e t c h i n g
i d e a s for flowe rs (or
other subjec ts) on paper
till you have drawn one
you like. Draw the design direct ly on the clay.
If you do not think you
can draw direct ly on the
clay, practi ce doing the
full-sized sketch on a
large sheet of paper and
then try on the clay. You
can alway s rub out mistakes or rewed ge the
clay and then start over!
Roll out the clay to
about a quart er of an
inch thick (Figu re 1).
The back of a piece of
oilclo th makes a good
surfac e to work on. Next,
draw the flow'er on the
clay (Figu re 2). Using a
knife or other tool, cut
throu gh the clay, leavin g
a narro w margi n aroun d
the outlin e. It may be
neces sary to remov e this
margi n of extra clay
later (Figu re 3).
16 Ceram ics Mont hly
The raised lines of the design are made with slip
applie d from a syring e. Use slip made from the
same
clay as the slab to avoid dryin g and firing diffic ulties
.
Thin pieces of clay can be dried and then moist ened
to
make a thick slip. If the clay conta ins coarse grog,
the
larger partic les may have to be sieved out in order
to
apply the slip with a syring e. If the clay is light colore
d,
a color ant might be added to the slip so that the raised
design will contra st with the backg round . Practi ce
making the lines on flatte ned pieces of clay befor e worki
ng
on the plaqu e.
When you are able to contro l the flow of slip, add
the raised lines to the slab backg round accor ding to
your
prelim inary drawi ng (Figu re 4). Let the slip dry to
the
consis tency of the slab befor e proce eding with the
work.
When the slip walls are no longe r wet, carefu lly trim
away all jagge d edges on the slab and smoo th out
all
rough spots or lines. Make a hole at the top of the
slab
for hangi ng, positi oning
it carefu lly so the plaqu e
will hang prope rly. Before the clay becom es too
stiff to bend, parts of the
flowe r design may be
raised or bent upwa rd
and suppo rted u n d e r neath with rolls or balls
of clay (Figu re 5). The
plaqu e shoul d now be
set aside to dry.
After the bisqu e firing ,
glazes are brush ed into
the variou s c o m p a r t ments of t h e d e s i g n
create d by the traile d
slip. A full brush of glaze
flood ed into the sections
is the easiest way of glazing the plaqu e. Since the
plaqu e illustr ated was
m a d e from r e d clay,
opaqu e glazes were used.
Howe ver, if a white clay
is used, or if a white slip
is brush ed into the flat
areas betwe en the walls,
transp arent glazes can be
also used to advan tage.
The above techn ique
can be used to const ruct
a single plaqu e, as illustrated ; it also has many
other exciti ng possibilities
for explo ration .
1. A large slab o/ clay is
rolled out to a thickne ss o[
about a quarter o[ an inch.
2. Using the prelimi nary sketche s as a guide, the /lower
design is drawn [reehan d on the clay slab.
3. Eacess clay is cut l'rom around the edge o[ the design
and remove d [rom the slab.
4. Dccora tiue lines are added to the sur[ace o[ the slab
[rom a slip-[illed syringe.
5. Portion s o[ the slab can be bent up and suppor ted with
rolls or balls o[ clay.
May 1965
17
EN AM EL IN G WITH LIQUID FL UX
by
HELE N WORRALL
T H E ALERT ENAMELIST is
consta ntly in search of
new ideas and produ cts to
alnpli fy his repert oire of
techni ques. Such a product, while not new to industry but relativ ely new
to the crafts man, is liquid
flux. This mater ial not
only opens up new concepts in decor ation but
also provid es the handcrafts man with additi onal practi cal aspec ts of metho
ds
in applic ation.
The decor ation on the featur ed vase explo its one
of
the more obvio us featur es of this mater ial--i ts liquid
ity.
18
Ceramics Monthly
With the use of a coppe r form which had been previo
usly
enam eled on the inside , the soft fusing variet y of
liquid
flux was used to spatte r a patter n direct ly over the
exterior . This was done by dippin g an inexp ensive
hardware- story- variet y of bristle brush into the flux, and,
with
a quick flip of t~e wrist, flingi ng the flux onto the
clean
coppe r surfac e. Wher e the depos ited liquid was excess
ive,
it forme d rivule ts which flowe d until the mater ial
was
deple ted. Quick action was neces sary at this point.
By
inclin ing the coppe r form to the prope r angle
it was
possib le to direct the flow of the stream ing liquid to
bring
the linear effect s into direct ions of greate r comp atibil
ity
with the form, thereb y exerti ng a degre e of contro
l over
the patter n rather than accep ting the comp lete chaos
of
happe nstan ce. The depos it of flux was thin and
dried
rapidl y. The circum ferenc e of the form was decor
ated
of the deco ratio n
in this man ner, allo wing each sect ion
A criti cal eval uati on
to d~- befo re adva ncin g to the next .
whe ther or not the
was mad e at each stag e to dete rmin e
fitte d the form ,
g,
estin
inter
new ly form ed patt ern was
with the prev ious ly
and was com pati ble in char acte r
ents were wipe d
esta blish ed patt ern. Und esira ble elem
eedi ng to the next .
awa y with a clea n clot h befo re proc
ed plea sing , it was
Whe n the tota l effe ct was cons ider
drie d and fired .
ely rem ove the
The orig inal plan was to com plet
ound ing the
surr
s
resu lting oxid atio n in the open area
rred whic h
occu
flux , but an unex pect ed phen ome non
the fina l
nced
enha
alter ed prev ious plan s and even tual ly
plet e
com
so
was
prod uct. The brea k-aw ay of fires cale
of
ork
netw
sing
plea
and, at the sam e tixne, left such a
rinco
to
ded
patt ern rem aini ng, that it was deci
n. The
pora te this into the over -all deco ratio
ual
resid
the
open area s of copp er cont aini ng
l
woo
steel
fires cale were rubb ed ligh tly with
of
icles
part
to rem ove all of the loose scaly
firm ly atoxid ation . T h a t whic h rem aine d
rior surexte
tach ed was left and the enti re
-bro wn
acco
face was cove red with dry ligh t-tob
usua l
the
by
tran spar ent enam el that was appl ied
in an
only
once
sifti ng meth od. It was then fired
shed .
mpli
acco
upri ght posi tion unti l clar ity was
a
uced
prod
and
k
Thre e firin gs com plet ed the wor
n
brow
the
in
ge
quie t harm ony of subt le colo r chan
over
and
,
flux
enam el as it pass ed over copp er, over
a red- rust tone . The
copp er oxid e, the latte r prov idin g
com bine d to brin g
unde rstat ed deco ratio n and colo r
the vase at once
abou t a quie t char m whic h mad e
by itself, an obje ct
prac tical as a cont aine r or, whe n used
of plea sing deco r.
y enai nelis t's
Liqu id flux shou ld be a part of ever
as deco rativ e uses.
supp lies. It has man y prac tical as well
frit susp ende d in a
It is a fine ly grou nd colo rless enam el
of the grin d and
liqui d bind er. Beca use of the finen ess
form very com pact
its liqu id susp ensi on, it seem s to
inate s pitti ng. This
surf ace cove rage whic h virtu ally elim
s as they lear n to
is a prob lem whic h plag ues begi nner
be a prob lem for
mas ter the sifti ng met hod ; it can also
its low fusib ility , the
the adva nced enam elist . Beca use of
erab le to acic i~an d
soft fusin g vari ety is extr eme ly vuln
base for othe r colo rs.
shou ld be thou ght of prin cipa lly as a
with this mate rial
The thin appl icati ons mad e poss ible
llent base for tran sfire beau tiful ly clea r and form an exce
pare nt colo rs.
USE S F O R
LIQUID
FLUX
rabl e to fuse
The re are occa sion s whe n it is desi
of a piec e at
back
the
and
t
fron
the
enam el onto both
g liqu id flux for
the sam e time . The adva ntag e of usin
that with reas onab le
coun ter enam el on thes e occa sion s is
prep arin g the fron t.
care the piec e may be hand led whil e
the mix ture to imA little extr a gum may be adde d to
ose.
prov e the adhe sive ness for this purp
adva ntag e to fuse
an
is
it
To cite a spec ific insta nce,
t and the back
fron
the
both
enai nel simu ltan eous ly to
e l on C o p p e r
m
a
n
E
"
(
uss6
of a piec e of copp er repo
Oppo site Page : Vase b)'
the auth or has a spatt er
deco ratio n o[ liqui d flux
and copp er oxide unde r
trans pare nt brow n enam el. The piece is nine
inche s high.
Deta il o] the vase (inset) show s the interesting patte rn of dark areas
whic h occu red in the
brea k-aw ay o[ the firescale,
Abov e: Bow l by Jane
Glass, Gatli nbur g, Tennessee. Liqu id flux brush
deco ratio n, with transpare nt red enam el over
the deco ratio n and copper oxide. Heig ht: 5
Diam eter: 9
inches;
inches. Phot os by Kenneth Shat to.
M a y 1965
19
Repouss~," March 1964 CM). The advan tage here
lies
in equal izing the stress on the metal in order to
retard
warpi ng. This is espec ially impor tant in enam eled
repouss 6 becau se the irregu lar surfac e of the metal does
not
permi t the use of weigh ts to hold the piece flat as it
cools.
Seriou s warpi ng could conce ivably distor t it to the
point
of no return . The slight warpi ng that may occur
in
enam eling both sides at once can be correc ted with
hand
pressu re, using a pair of asbest os glove s. The pressu
re
must be applie d within the first few secon ds after
it is
remov ed from the kiln. There is a short interv al of
time,
after the enam el loses its tackin ess and befor e it harde
ns
into a brittle glass, that it is pliabl e and will yield
to
pressu re witho ut fractu ring.
Anoth er use for liquid flux is that of placin g a good
base coat on hollow forms with narro w openi
ngs or
vertic al-sid ed pieces such as tubing , where it is virtua
lly
impos sible to get satisf actory cover age by sifting ("Bas
se
Taille Enamel," June 1964 CM). Liqui d flux can
be
poure d into these forms and the forms rotate d until
the
interi or is comp letely cover ed, after which the excess
is
poure d out. Follow ing firing , when a base has been
established , additi onal color may be added by sifting
with a
very small sifter.
H O W T O APPL Y
Liqui d flux may be applie d by brush ing, pouri ng,
or spray ing. Brushing tends to make irregu lar thickn
ess
which may cause green ish discol oratio n or even
burne d
places where the enam el is extrem ely thin. Pouring
gives
a more unifo rm coatin g, althou gh a thin one. This
could
be an advan tage where it is being used as a base
for
other colors , provi ding care is taken not to overfi
re the
flux. Spraying is the ideal method of application.
Flux
can be spray ed with an air brush , with a pressu
rized
spray can, or with a nasal atomi zer. When brush
ing or
pouri ng, one must be conte nt with the amou nt of enam
el
depos ited in the first applic ation, where as with spray
ing
it is possib le to build up any desire d thickn ess
by the
interm ittent spray ing and dryin g of succes sive layers
. One
cautio n shoul d be noted : The enam el partic les settle
out
of suspe nsion rapidl y, makin g it neces sary to shake
the
conta iner frequ ently for redist ributi on. Any clogg
ing
which may occur in the spray ing devic e may be cleare
d
by spray ing clear water throu gh the nozzle .
ADDITIONAL DECORATING SUGGESTION
S
1. In additi on to the spatte r techn ique alread y describe d, anoth er obvio us mean s of decor ating with
liquid
flux becom es imme diatel y a p p a r e n t - - t h a t of brush
work.
Flux may be painte d direct ly on the bare metal with
free
flowin g brush stroke s to create a spont aneou s
design
which shoul d be consis tent with the form. This is
fired.
The oxide or firesc ale may or may not be remov
ed.
Leavi ng some of the oxide will intens ify the outlin
e of
the brush stroke s. At this point the surfac e may
be
cover ed comp letely with transp arent color and
furthe r
decor ation devel oped as desire d. It is possib le, howe
ver,
20
Ceramics Mont hly
to super impos e succe eding layers of brush work over
the
first layer, firing each succes sive layer indivi dually
. In
establ ishing the secon d and succe eding layers of
brush
stroke s, a bit of dry enam el color may be sifted into
the
wet flux to establ ish deline ation where one stroke
of flux
crosses anoth er.
2. By using a spray metho d to depos it an all-ov
er
base coat of flux, a line drawi ng may be scratc
hed
throu gh the unfire d flux. After firing , there are
two
altern atives from which to choos e: leave the oxide
in
the lines and cover the whole with transp arent
color;
or clean away the oxide and cover the whole with
a
mediu m or dark transp arent color. In the latter instan
ce
there is a defini te line of dema rcatio n betwe en the
color
as it appea rs over the bare coppe r and where it devel
ops
over flux. In either case a perma nent drawi ng is
established at the begin ning of the work and furthe r devel
opment may then be pursu ed. Not only can linear
design s
be devel oped in the base coat by sgraff ito, but also
spots
or void areas may be incor porat ed by placin g
paper
friske t block -outs on the bare metal befor e spray
ing on
the flux. These would , of course , be remov ed
before
firing .
3. In the revers e of the previo us metho d, a stenci
l
may be place d direct ly on the bare coppe r and
flux
spray ed into the voids to devel op a series of spots.
These
are fired, and then the whole surfac e is cover ed
with a
transp arent color. A brush , syring e, or squee ze
bottle
applic ator might be used to draw lines of decor
ation
with flux betwe en the spots.
While the above discus sion by no mean s cover s all
the ramif icatio ns of this subjec t, it is hoped that
new
vistas have been opene d to the ename list and that
these
will provo ke furthe r invest igatio n and artisti c applic
ation
of this fascin ating produ ct.
::
HELE N WOR RALL learned
enameling from Mr. Kenn eth
Bates, Cleveland artist and
teacher. She earned her undergraduate degree at Ohio
University and her M.F.A .
degree at Cranbrook Academy,
where she did research in
enameling. Miss Worrall has
exhibited in nearly every major
craft exhibition in this country
and has won a number of
awards and purch ase prizes.
Her enamel work is on the
permanent collections of the
Wichita Art Muse um and the Thomas C. Thompson
Co.
At present she is teaching art in the public schools
at
Reading, Ohio. Miss Worr aU has been represented
in
CM with articl es on Copper Repoussd (Mar ch 1964)
and Basse Taille (June 1964).
/
;Y
:ii~¸ i!i~i!~i~!~!i~
Bowl by Jane Glass, Gatlinburg, Tennessee, is
10 inches in diame ter. The decor ation is sgraf[ito in a base coat of liquid flux with oxide
left in the open areas. Trans paren t green enam el oc'er the surface gi~'cs an olive-green and
maroon effect. Photo : Edwa rd L. DuPu y.
May 1965 21
HOW TO MAKE YOUR OWN GLAZES
Part 4: Making transparent glazes opaque
by
HORTENSE ARONSON and LISBETH SHAEFFLER
IN THE FIRST THREE articles of this series on how to work
creatively with glazes (February, March and April 1965),
you learned how to make up one basic recipe for a clear
transparent glaze, and how to color it blue, green or
brown. The simple techniques for working with the glaze
materials have opened the door to experiments with
almost any recipe--and any color in the potter's palette.
The next step is to learn how to make ),our transparent glaze opaque. Not just the clear glaze, but an),
of the colored glazes, too. There are quite a number of
ways to make opaque glazes, but the simplest is to add
an opacifier--generally a material that doesn't melt in
the fire but stays suspended in the glaze, so dense that
you can't see through the glaze when it cools•
The commonest opacifier in the potter's kit is tin
oxide. It is a dependable dense white that makes the
glaze opaque without lessening its gloss. It makes a clear
transparent glaze white; and it softens colors very much
the way the painter's Chinese white turns his dark pigments into lighter shades. Let's set up a simple experiment to test tin oxide in both clear and colored glazes.
M A K I N G A T R A N S P A R E N T GLAZE O P A Q U E
Get ready
Set out the five jars of transparent glaze,
clear and colored, that you made up if you followed the
previous experiment. Or try this test on any transparent
glazes you have on hand; the effects will differ somewhat
with different glazes, but the results are all worth investigating. Also, line up five test tiles, 5 squares of paper,
)'our scales, scoop, sifter and glaze marking pencil. You'll
need a small bowl and a half-inch glaze brush, and it's
hand), to have a mortar and pestle (or a slab of glass
and a palette knife) for grinding, just in case the glaze
materials are gritty. You'll also need some tin oxide.
Method
1. Number the backs of ),our test tiles with
the ceramic pencil, from 6 to 10, following up last
month's test series. Number your squares of paper the
same way. Note on each square of paper the amount
of color in your glazes. For example, 3~"~ copper oxide
in No. 6; 1% cobalt in No. 7, and so on. These amounts
refer to the five glazes made up in last month's lesson.
If you are using other glazes, note down whatever you
know about each of them: whether it's clear or colored
• . . and what color. This will help you to keep track
of your results.
2. Weigh out ten grams of each of your five dr),
glazes, clear and transparent, being sure to put each
one on the correctly numbered square of paper.
3. Add 10% tin oxide to each of the five small
batches of glaze on your five squares of paper. As you
work, mark each paper with a pencil check to note that
you've added the tin. This is to avoid accidentally skipping one or adding tin twice to another.
22
Ceramics Monthly
4. Mix the tin oxide well into each batch of glaze.
Starting with one batch, stir well while adding a few
drops of water; smooth out any lumps with your brush,
then add a few more drops of water to get the right
consistency to brush on your test tiles. The consistency
is right when the glaze flows from the brush without
dragging. Brush three coats of glaze on each tile, each
coat at right angles to the previous one. Before applying
the glaze, be sure that it is smooth. Tin oxide is sometimes gritty; if it is, then grind it smooth with your small
mortar and pestle or rub the wet glaze with a palette
knife on a slab of glass.
This simple method of nfixing in )'our tin oxide with
a brush works satisfactorily in handling small test quantities, if you stir it in thoroughly. In working with bigger
batches, however, be sure to get a thorough mix by sifting the glaze and the tin oxide together three times,
either wet or dry.
5. Fire the five tiles at Cone 06 (or the proper
temperature for the particular glaze you are testing).
6. File the five new fired tiles on a cardboard, in
a horizontal row, under the five transparent colors from
your last experiment. Now you have ten different glazes
from one recipe: five transparent colors and five opaque.
MORE ABOUT OPACIFIERS
We have said that while tin oxide is the commonest
pacifier, there are others that we can use. Some not only
make the glaze opaque, but make it matt, too. Among
these are talc, whiting, mag'nesium carbonate, zircopax
and rutile. Each of these works in its own way, with
somewhat different effects in different glazes. One of
the most interesting to work with is ruffle. Let's set up
a simple experiment to find out what we can do with it.
M A K I N G S H I N Y GLAZES M A T T
In general, matt glazes can be made "by formula."
T h a t is, the right combination of materials is figured in
the original formula of a glaze. But a shin), glaze can
also be matted by adding a matting agent, such as rutile.
Ruffle makes the glaze matt by forming crystals on the
surface of the glaze as it cools after firing, thus breaking
up the shine. And it does other things to the glaze, too.
It makes the glaze opaque. It alters colors because the
ruffle itself contains iron, and the brown tones of the
iron tend to soften intense blues, greens or other shades
into more muted tones. It often causes an interesting
color break-up that gives a textured look to a glaze. This
is an effect sometimes called "antique." Since ruffle also
has some fluxing action, it may make a glaze runny,
resulting in brownish streaks down the side of a pot
(this is the hare's fur effect you've read about).
Ruffle can be used in any quantity up to 10e/b. Here
are three suggested experiments using ruffle, ruffle with
tin, and other opacifying and matting agents.
Experime nt No. 1: 10% rutile Follow the general technique of your experime nt with tin as an opacifier. That
is, set out five test tiles and other equipmen t, again including five squares of paper on which to heap your five
different mixes. Weigh out ten grams of each of your
five transpare nt dry glazes, putting each 10 gram batch
on a different square of paper (making sure to number
the papers). Weigh out one gram of rutile (10%) and
add it to the first batch. Do the same for all the others.
When you have mixed up each batch and made it into
a slip, brush three coats of each on its own numbere d
test tile. When using rutile, apply your glaze slip a little
more thickly than with a transpare nt glaze, so that you
get a good build-up on the tile. Fire the five tiles and
add them to your file card.
Experime nt No. 2: 5% Tin oxide and 7~b rutile Follow
the same method again, this time adding two materials
to each of your five tiles. To each small 10-gram batch
of glaze, add 5% tin (.5 gram) and 7% rutile (.7 gram).
When these are mixed, made into slips and brushed onto
your tiles, then fired, you have a fourth row to add to
your file card. Now you have twenty different tiles from
your one basic glaze.
Experime nt No. 3: Other opacifyin g and matting agents
If you'd like to test some other additives beside tin and
rutile, to widen )'our scope further, you will need some
additiona l materials . Buy a small quantity of each of the
following : talc, whiting, magnesiu m carbonate , Zircopax
and dolomite.
........
i
I. Set up a row of five test tiles and five squares
of paper.
2. Weigh out ten grams of your basic dry glaze on
each of the five squares of paper. For a first test, you
might start with the clear transpare nt glaze used as a
basic glaze in this series. You can, of course, try mattin,.,
any transpare nt glaze you have.
3. To the first batch add 10~b (1 gram) of talc.
4. To the second ten-gram batch of glaze, add 10Or
(1 gram) of whiting.
5. To the third batch, add 10% (1 gram) of magnesium carbonate .
6. T o the fourth, add 10~ (.1 gram) of Zircopax .
7. To the fifth, add 8% dolomite (.8 gram).
When each batch is mixed and applied to a carefully
labeled tile and fired, you will have some informati on
about the degree of matting effect and the opacity of
each of these materials , when used in the particula r glaze
you have tested. And you'll have five more interestin g
glaze samples to add to your collection and to choose
from for use on your pots.
If you have done all the suggested experime nts in
this series of articles so far, you now have a file card
with twenty-fi ve different colors and textures, all made
from one basic glaze. Obviousl y, you can add to these
at any time by testing more colors, with and without
opacifier s and matting agents. If you have mounted them
as suggested , you have a carefully labeled card with all
Continued on Page 34
:~i~i~!!iii~p
~i~;~'i ~¸ :~
~,
•
~
.....
....
Making transpare nt glazes opaque: In the experime nt
shown here, the jars hold five variation s of a basic transparent glaze--fo ur colored and one clear. Weigh out ten
grams of each glaze onto separate squares of paper.
To each small batch, add one gram (10%) of tin oxide.
Mix thorough ly. Now you have five opaque glazes.
I~
~,.
1
,..,,,.,._~,
.,.,,,,,,,,,,,.~
~
.~.
,
Filing }'our glaze tests: Glue your test tiles to a cardboard and label them, to show what has been added to
each. Note that the columns are arranged vertically by
colors and horizonta lly by opacifyin g and matting agents.
The tests in this one lesson give you 25 colors and textures for future reference.
May 1965
23
Ceramic Tesse rae-t he Easy Way
by I/.OGER I~{OREAU
AT Till'; BEGINNING of each school year my crafts classes
set out to make a completely original, large mosaic composition. For the sake of complete originality, we make
our own mosaic tesserae. As a result of our experiences,
we have discovered a fast, high quality method for making
ceramic tesserae which enables the teacher to construct
large mosaics on a classroom basis.
The composition was worked out and finalized on
¼-inch graph paper. It was then easily enlarged by
transferring it to a plywood panel which had been ruled
into one inch sections. In this case, the panel was 3~-inch
thick, measured 93" x 46", and had eight bolts countersunk into it for the purpose of hanging after completion.
We planned to place an average of four tiles per inch;
therefore our needs required as many as 20,000 tiles,
uniformly thick with a I/2-inch uniform surface.
Weeks of preparing the tiles ended in negative results
on our first attempt. We tried rolling a slab of clay uniformly thick, using dowel sticks to control the thickness.
We measured ~2 inch on all sides and drew a knife
between the marks. Several problelns became obvious.
First, we found that it required a great deal of time
to measure and mark each slab; without question, the
24
Ceramics Monthly
marking was not accurate enough to guarantee a uniform
surface of Y2 inch. Another problem occurred when the
knife was drawn through the clay; the clay would pull
and distort the surface, thereby destroying uniformity.
Finally, the tiles had to be individually hand-arrange d
so that they were not touching during glazing; this was
necessary to keep the glaze from stacking up between
tiles and thus prevent them from sticking together. It
was obvious that a less tedious, more expedient, and
higher-quality method of tile making had to be found.
There was a general loss of interest because of the many
problems, and work finally came to a temporary halt.
We then turned to other ideas. Thinking in terms of
stamping the tiles, I visited the local hardware store in
an effort to find a y2-inch mesh screen which I thought
would do the job if pressed into the clay. After discovering that a ~2-inch screen was unobtainable, I tested the
idea using a mesh of a different size, only to find other
problems. When pressed into the clay, the center parts
of the screen would not completely penetrate it; thus the
tiles had no uniform thickness. However, it did produce
a neat, uniform surface pattern. It was obvious that if
a firm material could be found (like the cutters used in
1. A tile cutter , impro vised [rom a plastic [luorescent light
di[[user, is pressed throu gh a slab o[ clay.
to
2. Excess clay is cut away and the clay cubes are le[t
place.
dry out with the plastic cutter still in
~.~
W~
the
3. The dr), tiles are per[e ctly spaced [or glazing by
tiles.
clay
dark
on
used
is
spray metho d. Opaq ue glaze
4. The block o[ glazed tile is guide d onto a kiln shell
and place d in the kiln [or the single [iring required.
em
dicing and cuttin g shoes tring potato es) the probl
would be solved .
I
Upon prese nting the probl ems to mv classes,
c
plasti
a
of
n
learne d that one of the studen ts had a sectio
glare
light fixtur e used comm ercial ly to diffus e the bright
h.
½-inc
red
of the fluore scent tube. The "sections measu
em!
This was the answe r to the probl
By using this we were able to make vast quant ities
of the
of unifo rm ~ - i n c h tiles in less than 90 per cent
r"
"cutte
c
plasti
the
d
presse
We
ally.
time it took origin
cubes
clay
The
clay.
damp
of
slab
out
into the rolled
the
shran k durin g the dryin g stage and releas ed from
ed,
remov
then
was
cutter
The
walls.
c
sides of the plasti
d
space
thus
were
tiles
The
.
glazed
spray
and the tiles were
ated.
elimin
was
g
spacin
hand
of
task
s
and the tediou
Now comp leted, our first mosai c comp ositio n hangs
our
in the schoo l's main office . We have alread y begun
of
foyer
the
for
ed
destin
is
which
secon d comp ositio n,
the gym.
a
Give this metho d a try. I ' m sure you'll discov er
conc
mosai
al
origi~.
in
ment
vast new reahn of excite
.
struct ion, wheth er for the indivi dual or the group
R O G E R M O R E A U is a cra[ts teach er at Moun t
has
Migu el High Sckoo l in Sprin g l'alIey, Cali[ornia. He
and
ic
Paci[
The
o/
rsity
his B.A. degree [rom the Unive
plans to work on an advan ced degree at San Diego State.
g
The last, accurate and interesting metho d o[ makin
[or
n
writte
ically
specif
is
tesserae that he presents kere
the kigh school teach er who wishes to work on a group
projec t in original mosaics.
May 1965
25
Four Gla zes for Co ne 014
by RICHARD BEHRENS
Author RICHA RD BEHR ENS
notes that the [ollowing glazes should
mate well with the two low-tem perature bodies (Clay Body I V and Clay
Body VI) listed in his article, "'Clay
Bodies," in the February 1965 issue
of CM.--E d.
GLAZE FORMULAS maturi ng at Cone
014 which fit the averag e clay body,
and which are m e c h a n i c a l l y and
chemic ally strong, do not appear frequently in cerami c literatu re. Such
glazes can be made from availab le
frits lead and lithium . The glazes
offered here have proved to have
excelle nt resistence to weathe ring, according to an acceler ated weathe r test
made with them. They have good
color solubility and form good surfaces.
Where limited firing time is an
asset, Cone 014 glazes can prove very
useful. They are also very useful in
adding a touch of color on a decora ted
pot fired to a higher cone level. In
additio n, they minimi ze strain on the
pot caused by higher additio nal firings.
Where only a low-fir ing kiln is available, a low temper ature glaze can
prove a great advant age.
A good Cone 014 glaze may be
made from :
CONE 014 GLAZE I
Frit 25 (Pemco)
34.0%
White Lead
26.6
Lithium Carbonate
8.4
Kaolin
4.2
Silica
26.8
100.0%
This glaze may be matted by adding
25% of zinc oxide to the above formula. Barium carbon ate, in the same
amour. t, will also matt the glaze. Perhaps the best matting agent is aluminum hydrate (not oxide) added to
the formul a in a 20% amoun t.
Reduct ion of this glaze may be carried on in a gas kiln by firing in reduction to cone 014 and holding at
this temper ature for 10 minute s before cooling . For copper red, use 1%
of copper carbon ate and 1% of tin
oxide in the basic formul a. For a good
26
Ceramics Month ly
celadon , the additio n of 1.5% of red
iron oxide may be used.
Local reducti on in the oxidizi ng
electric kiln can be carried on by use
of 1% of copper carbon ate, 1% of
tin oxide and 1% of 300-me sh silicon
carbide . For a celado n by local reduction , 1.5% of red iron oxide and
1.5% of silicon carbide may be added
to the basic formul a. The copper reds
produc ed by this formul a are usually
mixed with blues. The celadon s are
quite uniform .
Colors obtaina ble with various colorants are approx imation s of those
named on color charts in "Dictio nary
of Color" by Maerz and Paul.
3% Green Chromium Oxide
Fern green
5% Tin Oxide + 2% Antimony
Oxide
Sulphur yellow
5% Red Iron Oxide
Fallowyellow
3% Copper Carbonate
Marls blue
1% Cobalt Carbonate
Ultramarine
4% Rutile + 1.5% Nickel Oxide
+ 3% Copper Carbonate
Carrara green
4% Rutile + 1.5% Nickel Oxide
+ 1% Iron Oxide Bronzebrown
1% Green Chrom e Oxide + 3%
Red Iron Oxide
Pea green
1% Green Chrome Oxide + 1%
Nickel Oxide
Piquant green
1% Green Chrome Oxide + 0.5%
Cobalt Carbonate
Surf green
1% Copper Carbonate + 0.5%
Cobalt Carbonate
Blueja yblue
1% Copper Carbonate + 3% Red
Iron Oxide
Pacific blue
1% Copper Carbonate + 1%
Nickel Oxide
Thyme green
5% Titanium Dioxide + 2%
Copper Carbonate
Pacificblue
5% Tin Oxide + 3% Chromium
Oxide
Holly green
Anothe r cone 014 glaze of a
strongl y alkalin e charac ter which
yields similar color of somew hat
greater intensi ty is:
CONE 014 GLAZE II
Frit 25 (Pemco)
46.5%
Frit" 54 (Pemco)
28.3
Lithium Carbonate
10.9
Silica
14.3
100.0%
This glaze should be conditi oned by
the additio n of 1% of benton ite.
An interes ting blood- red cone 014
glaze may be made from:
CONE 014 GLAZE III
White Lead
80.6%
Kaolin
8.2
Silica
11.2
100.0%
To this should be added 3% of green
chronf ium oxide.
A stony dry glaze of blood- red color
can be made from:
CONE 014 GLAZE IV
White Lead
90%
Kaolin
10
100.0%
This glaze can be colored with 3%
of green chromi um oxide.
Clay body recipes:
CLAY BODY IV
Tennessee Ball Clay #1
Pemco Frit 25
Nephyline Syenite
Silica
60%
20
5
15
100%
This body may be classified as of
earthen ware quality when fired to
Cone 06; it vitrifies to stonew are
density at Cone 04.
CLAY BODY VI
Red Clay
Pemco Frit 25
Silica
Talc
60%
20
15
5
100%
This clay, utilizin g Quarry Tile Red
clay, may be bisqued at Cone 010 and
vitrifies to a stonew are level at Cone
08.
MR. BEHRENS
is a graduate chemist who has worked
in various industrial and research
[ields and has
taught pure and
applied chemis try
at the adult and
secondary levels. Pottery is his major
avocation and he spends much of his
time exploring the field of glaze
technology in his workshop.
BRUSH STROKE VO CA BU LA RY
for the underglaze decorator
Marc Bellai re book,
This article is based on mater ial from the new
CERAMICS MONTHLY
"Brus h Decor ation for Ceram ics," publis hed by
s which
~'VE THINK OF DESIGN as the arran geme nt of detail
is simbrush
the
with
make up a work of art. Desig ning
lines
s,
stroke
brush
of
n
ply the arran geme nt or comp ositio
in
have
we
that
sketch
and prints to create a plan or
a
or
paper
of
sheet
a
on
mind and want to set down
piece of potter y.
T h e begin ning decor ator shoul d think of brush
he has
stroke s as separa te design units or shape s. When
ce in
practi
gh
throu
s
becom e famili ar with these shape
"
bulary
"voca
a
d
n
a
m
m
o
makin g them, he has at his c
s
ement
arrang
design
s
with which he can create endles
and thus comm unica te his ideas to other person s.
the
We may coinp are this brush vocab ulary with
writin
te
unica
comm
vocab ulary of words by which we
so early
ing and speech . We learn an alpha bet of letters
of
Each
us.
to
nature
d
in life that its use becom es secon
and
ined
comb
when
the A B C's is a symbo l which ,
in
placed in certai n arrang ement s, forms words . These
le,
examp
For
.
minds
our
turn form pictur es or image s in
l image
the letters A, T and R do not produ ce a menta
ls as
until they are rearra nged to form such word symbo
R A T , T A R and A R T .
s.
The same thing is true of unrela ted brush stroke
ic
specif
no
give
may
s
shape
n
certai
of
The comb inatio n
used
image when arrang ed in one way. When they are
or
bird
fisl~,
a
st
sugge
may
they
n,
in anoth er patter
r.
flowe
the
In order to be able to design with a brush ,
he
that
means
This
"see."
to
learn
begin ner nmst first
be
to
seem
may
what
in
s
masse
basic
must look for the
e
reduc
or
ose
transp
then
and
form,
a detail ed, comp lex
ately
adequ
will
that
s
stroke
brush
e
simpl
this subjec t into
to a
repres ent it as a design symbo l. For examp le, a leaf
al fiber,
botan y studen t is a comp lex arran geme nt of skelet
has
who
er
design
a
o
T
.
fluids
iving
life-g
chloro phyll and
may
leaf
a
forna,
mass
e
simpl
of
terms
in
learne d to think
.
be reduc ed to the simple st basic stroke s of a brush
clearthe
g
makin
f
ion--o
ificat
simpl
This proces s of
esvery
the
on--is
retati
interp
or
ent
est possib le statem
.
design
brush
sence of good
May 1965
27
THE FUNDAMENTAL STROKE
T h e fundam ental stroke is made with a single movement of the brush used in the pendul um-typ e action.
Heavy pressur e at the beginn ing of the stroke forms the
widest part of the shape; as pressur e is release d, the brush
is allowed to spring from the paper, leaving a fine point.
When less initial pressur e is used, the stroke is conside rably smaller . T h e waterc olor brush is used when heavier
strokes are needed and the liner brush when long, slim
strokes are desired .
T h e stroke may be repeate d in a variety of ways to
create interes ting pattern s for use in a band or border
ar~:ang ement or as an all-ove r decorat ion.
While the fundam ental stroke can be used to suggest
single leaves or petals, or combin ed with other strokes
for more comple x designs , groupin gs of similar strokes
can be used very effectiv ely to create foliage, flowers and
other motifs.
Consec utive strokes also are used to fill in any large
area that cannot be covere d with a single brush stroke.
T h e beginn er should avoid dabbin g the color with a
brush, howeve r, becaus e coverag e will be inconsi stent and
thin and may very well fire out, leaving an unsatis factory
result. The exampl es here are done with the liner brush.
p
CURVED STROKES
The curved stroke is exactly the same as the fundamental stroke except that a slight curve is introdu ced.
T h e stroke can be utilized in a curving movem ent, going
either up or down, for produc ing gracefu l and decorat ive
28
Ceram ics Monthly
shapes. Notice the leaping fish-lik e movem ent of these
brush strokes ! T h e waterc olor or liner brush may be used.
Curved strokes may be repeate d to form motifs such
as the pahn frond or they may be combin ed with a single
line to create a pine tree design.
DIMINISHING STROKES
The dimin ishing stroke , still anoth er variat ion of the
re
basic stroke , is accom plishe d by apply ing light pressu
e,
middl
the
at
re
pressu
er
to the brush at the start, heavi
.
stroke
the
of
finish
and light pressu re again at the
This stroke has many uses in decor ative painti ng.
can
Single stroke s make excell ent tulip leaves and they
e
foliag
other
many
obtain
be arran ged advan tageo usly to
petals
daisy
for
used
be
can
effect s. Dimin ishing stroke s
stroke s
and they make wond erful bird pluma ge! These
es;
brush
color
water
and
usuall y are done with the liner
brush
liner
the
by
made
s
examp les of dimin ishing stroke
are shown here.
CIRCLE STROKES
s are made with a single stroke of the
shape
lar
Circu
is
water color or squar e shade r brush . The filled brush
d
sprea
to
held perpe ndicu lar to the paper , presse d down
.
circle
the hairs, and then twiste d or spun in a v e D" tight
This
The action is simila r to that used in drillin g a hole!
conis not a free-s wingi ng stroke from the wrist but is
stans
trolled by the twisti ng finger s. The wrist remai
round
tionar y. Much practi ce is requir ed to make really
circles.
One of the intere sting variat ions of this stroke gives
right,
a heart- shape d leaf. A half-c ircle is made to the
left,
the
to
endin g in a point ; the additi on of a half-c ircle
.
shape
also endin g in a point, result s in the heart
For design purpo ses, circle s are used for repres enting
motif s
grape s, flowe rs, heads on stylize d figure s, borde r
leaf
The
d.
and where ver else round shape s are desire
used
is
,
brush
shape illustr ated, made with the watercolor
decoupsid e-dow n as the heart motif in Early Amer ican
ration .
May 1965
29
CERAM IC GLAZES
by Cullen W. Parmele e
This i n v a l u a b l e
referenc e
book complet ely covers glaze
making. Include s formula s
and batch recipes for glazes.
314 pages of technica l informatio n.
$8.00
CERAM ICS
by Glenn C. Nelson
An importa nt addition to the
list of books for both student
and teacher. Many step-bystep photogr aphs of clay-for ming and decorati ng techniqu es.
Review of equipme nt. $5.95
recommended
books on
ceramics
DESIGNS AND HOW
TO USE THEM
by Joan B. Priolo
Top-not ch decorati ng can be
achieve d by followin g the
simple motifs which may be
enlarged or transfer red. A
complet e list of subjects :
birds, fish, etc.
$5.95
DESIGN MOTIFS OF
ANCIEN T MEXICO
by Jorge Enciso
A compila tion of 766 examples divided into geometr ic,
natural and artificia l forms.
Includes designs based on
flowers, birds, fish, human
figures, etc. 170 pages. $1.85
GLASS CRAFT
by Kay Kinney
The complet e book on fusing,
laminat ing and bending glass.
Basic techniqu es, step-by- step
projects and a Glass Cllmc
to help solve problem s, t i a r d
covers, 200 pages.
$7.50
CLAY AND GLAZES FOR
THE POTTER
by Daniel Rhodes
Fwo complet e books in one!
Fundam ental details on both
CLAY and GLAZE S make
this book a "must" for every
hobby - craftsm an, student,
teacher and potter.
$7.50
•
,~
-
.
,,
A POTTERY SKETCH BOOK
by Aaron Bohrod
Bohrod, one of America 's distinguish ed painters , is well
known in the pottery field for
his decorati on of pottery
thrown by Carlton
Ball.
Thousan ds of sketches . $7.50
HANDB OOK OF DESIGNS
,AND DEVICES
by Clarenc e Hornun g
Over 1800 sketches of basic
designs and variatio ns including the circle, line, scroll, fret,
shield, snow crystals and many
more useful symbols .
$1.90
MOSAI CS, HOBBY & ART
by Edwin Hendric kson
This profusel y - illustrat ed
handboo k for the beginne r
and advance d hobbyis t includes step-by- step instruct ion
on 12 basic projects .
$3.50
CERAM IC SCULPTURE
by John B. Kenny
Contain s over 1000 photos
and sketches coverin g all
phases of the sculptor 's art.
A valuable aid for all craftsmen. Large format (7"x10" ),
302 pages•
$9.95
THE COMPLETE BOOK
OF POTTERY MAKIN G
by John B. Kenny
The "best seller" in the
ceramic field! Step-by -step
photo lessons cover all of the
pottery - making techniqu es.
Clays, glazes, firing, plaster,
etc. 242 pages.
$7.50
CERAM ICS FOR THE
ARTIST POTTER
by F. H. Norton
The most complet e book on
the subject, from choosin g
the proper clay to putting
the final touches on a piece,
all clearly explaine d. Ceramics at its best!
$7.50
30
Ceramics Month ly
POTTERY & CERAM IC
SCULPTURE
by Herber t M. Sanders
A new, thoroug hly revised
edition of Mr. Sanders ' best
seller, Ceramics Book. Completely up-date d with new
material , includin g section on
how to build a potter's wheel.
Excellen t for beginne rs. $2•50
CERAM ICS AND HOW
TO DECORATE THEM
by Joan B. Priolo
Mrs. Priolo gives detailed description s and illustrat ions of
dozens of decorati ng techniques and shows exactly
how to go about using them.
Starts where other books
leave off.
$5.95
ENAME LING ON METAL
by Oppi Untrach t
Step-by -step photos are used
to describe fundam entals on
through to newly develop ed
experim ental styles. This complete guide is a major contributio n to Enameli ng• $7.50
FREE BRUSH DESIGN ING
by Egbert and Barnet
The authors ' exciting approach to painting and designing develop s confiden ce
in the new artist. Extreme ly
well adapted to ceramic decoration.
$3.95
DESIGN FOR ARTIST S
AND CRAFTS MEN
by Louis Wolcho nok
One of the best books on design, it will prove to be invaluable to pottery and sculpture enthusia sts as well as
decorato rs. Geomet ric, flower,
bird and animal forms are
shown in detail.
$4.95
CRAFTS DESIGN
by Moseley, Johnson &
Koenig
A wonderf ul introduc tion to
crafts design, this handsom e
book shows the art and technique of creating through
crafts. Over 1000 illustrat ions
of pottery, mosaics , enameling, etc. 436 pages.
$13.00
THE ART OF MAKIN G
MOSAI CS
by Jenkins and Mills
This fascinat ing book shows
the beginne r how to make
unusual and beautifu l mosaic
pieces in home or worksho p.
Well illustrat ed.
$5.95
STONE WARE AND
PORCE LAIN
by Daniel Rhodes
Describe s techniqu es and materials used in high-fir e pottery. Include s sections on clay
bodies, glazes, colors, textures
and decorati on.
$7.50
mm
m
m
mmm
m m
BOOK
m m
m
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DEPARTMENT
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m m
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,,I- .o,~ .,qb .~., ~...b...Oh~
4.~'
PLEASE SEND ME THE FOLLOWING BOOKS
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h b ~ S k o t ~ h b o e k SY.SO
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Kenay---Sculphwe $9.9S
l[emm~Pafll ry ST.N
~ Nortoa.-Jks~st Petit S7.50
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Parmele~Glazes S0.0@
Prk;Io--Design$ $S.M
Rhodes---Clay & Glazes $7.S0
Sander-.---PotteryS;LSO
Untrocht--JEnameling$?.SO
Welck~ek__De,iqs ~1.~3,
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En¢lse-;-Oe~a SI.|S
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Idoseley..-Crof~ DeslgA i l l . N
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STATF
I encTote 1"7 Check I-1 Monly Order qO11;orosidln)s 3% Sales Tam)
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JEWELRY FROM EN AM EL LUMPS
by KATI-tE BERC
~THAT IS A JE'~VEL.~ I like to think of 20-ga uge or 22-ga uge, cut into long neckla ce, the ends might be used to
conne ct with a jumpr ing.
strips that are about 3/16- inch wide
a jewel as a baubl e that looks precio us
aglow
y
er.
arentl
narrow
transp
even
and
or
When the settin g is forme d as you
shin},
and
rethe
that
for
hing
used
be
somet
is
also
It
can
.
wire
within
Flat
want it, it is ready for the additi on
from
bewire,
and
soft
g
a
settin
be
ate
should
intric
it
an
but
in
g
the jewel or jewels . If the settin g
of
sides
settin
since
some
y,
of
spring
queen
and
a
for
hard
fit
is
y
that
be ename led, this should be done
jewelr
to
one
is
not
comes
into
rted
conto
and
piece fired at this time.
bent
the
be
never -neve r land.
and
must
it
an elabo rate shape .
Becau se the settin g and jewels must
T h e ename l jewelr y being produ ced
The metal strip must be handl ed al- be fired togeth er, work now should be
today is most attrac tive and modis h.
done on a firing rack. T h e base secUnles s it is made by a verita ble
most as if it were ribbon . It is turned ,
tion, wheth er it is ename led or not,
Faber g6, howev er, m u c h of it does twiste d and twine d until it resem bles
should be placed on a piece of mica
not have that "glow from within "
ribbon lace, loose weavi ng, intric ate
on the firing rack. If you have a small
qualit y that makes it really jewel- like.
a
Now, I ' m going to tell you about
trivet that happe ns to fit the piece,
this can be used in place of the piece
quick way to make really jeweM ike
ack:
of mica.
jewelr y that has just one drawb
no pawns hop will give you a penny
L u m p ename ls are now added .
this
for it! I suppo se we nmst call
From an assort ment of lumps (whic h
can
one
techn ique a recipe , becau se
are availa ble from almos t any ceram ic
t
or craft supply shop) select the ones
turn out these small treasu res almos
a
you
like cookie s. I shall also give
that you want to incorp orate into ),our
down
setting . I have found that it is best
pearl of wisdo m: Never look
matyour nose at any techni que, no
to pick up these small pieces with a
It
be.
ter how "gimm icky" it may
pair of tweez ers and insert them
ay.
direct ly into the loops and meshe s
is almos t certai n to be useful somed
lukeof the setting . When these are posiI have alway s been rather
of
use
tioned to your satisfa ction, carefu lly
w a r m in my respon se to the
for
lift the firing rack and place it in
ename l "lump s" as decor ation
these
of
the kiln.
ename l work. I have had a jar
Firing should be done in a "slow "
ungro und bits of ename l aroun d my
moss,
kiln that is just hot enoug h to fire
studio for a long time, gathe ring
t
n
e
m
o
m
ename l. There are two reason s for
so to speak . But now their
y
jewelr
this: (1) This is the safe way to
of glory has come, for our new
l
ename
with
work with gold or silver ; and (2) It
is decor ated exclusively
lumps !
is the only way to contro l the flowin g
of the ename l lumps . Accor ding to
T h e metal base that is neces sary
your own taste in the matte r, you m a y
for almos t any work in ename l funcwish to fire only until the lumps start
tions in this case not only as the basic
deyou
our
effect
to fuse and round out, or you can
knot-w ork, or whate ver
shape but also as the "setti ng" for
of
piece
allow them to remai n in the heat
sire as the settin g for your
jewels . It can be silver or even gold,
must
shape
and
longe r so that they flatten out more
jewelr y. O f course , the
since not much metal is used
tight
ely
ous
relativ
and sink deepe r into the setting . I
hold togeth er and be a
theref ore doesn 't involv e an enorm
would cautio n you not to allow too
expen se. If coppe r is used, the piece mesh.
be
a
should
or
m u c h of this flatten ing, howev er. T h e y
The ends of the strips
should be ename led with flux
great
with
the
might flow compl etely out of the
worke d into the whole
light transp arent color before
in
curled
g!
be
do
settin
can
resour cefuln ess; they
"jewe ls" are set. Silver and gold
to
used
and
coatThis is all there is to m y amazi ng
with round -nose d pliers
not necess arily need even a basic
.
jewels
y
the
beaut
for
s
the
jewelr y techni que. It is very easy,
form the actual setting
ing of ename l becau se of
loose
the
pin,
a
elves.
be
there is very little bothe r, and the
If the piece is to
of these mater ials by thems
y
gicall
strate
recom
ed
effect can be quite stunni ng. Perha ps
ends can be situat
If silver is used, I would
flat
a
e
a
provid
holds
it
they
se
you will want to try other types of
enoug h so that
mend fine silver becau
on
ing
g
solder
for
sterlin
back
does
jewelr y by this metho d, beside those
surfac e on the
shape m u c h better than
to
is
piece
the
should
If
it
gs.
,
metal
findin
y
alread y menti oned. H o w about rings,
the jewelr
silver. What ever the
a
on
nt
use
penda
to
or
g
ets, even a tiara?
best
is
earrin
bracel
e
It
be a dangl
not be too thin.
May 1965 31
SUM MER WO RKS HOP S
Summer Workshops give you that wonder[ul opportunity to combine vacation travel
with hobby [un. Whether you are tripping
east or west or only a little ways from
home, you'll [ind a workshop in ceramics
to give you that [resh inspiration. Our
list to date:
B. C., VICTORIA
July 5-30
The Osborne Pottery Studio is offering
sessions in wheel-thro wn pottery, form
and decoration . Instructor : L. F. Osborne. Write: Osborne Pottery Studio,
5757 West Saanich Rd., R.R. 7, Victoria, B. C., Canada.
CALIFORNIA, GUERNEVILLE
June 28-August 27
Pond Farm Pottery is offering nine
weeks of instruction in throwing, decorating and hand-build ing. Instructor :
Marguerit e Wildenhai n. Write: Pond
Farm Pottery, P.O. Box 322, Guerneville.
CALIFORNIA, IDYLLWILD
June 27-Aug. 6 (Adults)
Aug. 8-20 (High School Students)
The University of Southern California ,
School of Music and The Arts, is offering 2-week courses in beginning and
advanced ceramics for adults. Instructor: Susan Peterson. Two-week courses
in ceramics and painting are being
offered for high school students. Instructor: Esta James. Write: University
of Southern California , School of Music
and The Arts, Idyllwild.
CALIFORNIA, LONG BEACH
June 21-August 27
California State College at Long Beach
offers 6-and 4-week sessions in hand
building, beginning and advanced throwing, glazing, kiln firing and kiln building.
Instructor s: Thomas Ferreira and Ward
Youry. Write: Director, Summer Session, California State College at Long
Beach, Long Beach.
CALIFORNIA, Los ANGELES
June 21-August 7
The Departme nt of Fine Arts at the University of Southern California offers a
7-week ceramic course in hand-build ing
and throwing. Instructor : F. Carlton
Ball. Write: Departme nt of Fine Arts,
University of Southern California , University Park, Los Angeles.
CALIFORNIA, MENDOCINO
June 2l.August 13
"Experime nt A Program" offers a number of workshops in such places as
Mendocin o and Panamint Valley; Scottsdale, Ariz.; and Nelson, B.C. Media
include ceramics and visual perception .
Instructors are Hal Riegger, Paolo
Soleri, Ann O'Hanlon and Gloria
Churchma n. Write: Hal Riegger, 469
Panoramic Highway, Mill Valley, Calif.
32
Ceramics M o n t h l y
CONNECTICUT, BROOKFIELD
to be announced
Brookfield Craft Center has announced
a 1-week workshop in fused glass and
2-and 3-week sessions in ceramics. Instructors: Priscilla Porter (glass), Vivika
Heino and Henry Gernhart (ceramics) .
For informatio n, write: J. Kauppi, Director, Brookfield Craft Center, Brookfield.
CONNECTICUT, NEW CANAAN
July 12-September 3
The Silvermine College of Art will p r e sent an 8-week workshop in beginning
and advanced ceramics. Instructor s:
Tauno Kauppi and Guy Grande. Write:
Registrar, Silvermine College of Art,
New Canaan.
D. C., WASHINGTON
June 14-August 6
The Corcoran School of Art offers 8week summer sessions in beginning and
advanced ceramics. Instructor s: Charles
Plosky (beginning ) and Richard Lafean
(advanced ). Write: Mary G. Kovner,
Registrar, Corcoran School of Art, New
York Ave. & 17th St., Washingto n.
INDIANA, INDIANAPOLIS
June 14-August 20
Amaco Ceramic Workshop s offer 2-week
sessions in ceramics and a 1-week session
(June 28-July 2) in metal enameling
for teachers and occupation al therapists
at the John Herron Art School. Graduate and undergrad uate credit. Instructors: Kenneth E. Smith, Justin M.
Brady, William Gehl, and Richard
Peeler. Write: American Art Clay Co.,
Inc., 4717 W. 16th St., Indianapo lis
46222.
MAINE, DEER ISLE
June 21-September I0
Haystack Mountain School of Crafts
offers four 3-week quarters in all phases
of ceramics. Ceramics instructors : Cynthia Bringle, Charles Lakofsky, Jeff
Schlanger and Frans WildenhaJ n. Write:
Haystack Mountain School of Crafts,
Deer Isle.
MASSACHUSETTS, WORCESTER
July
The Worcester Craft Center is offering
instruction in ceramics. Instructors include William Wyman, Gerry Williams
and Leo Marcuccil li. Write: Craft Center, 25 Sagamore Rd., Worcester .
MICHIGAN~ BIRMINGHAM
August 2-14
The Owl Shop offers a 2-week course in
throwing, hand building and decorating .
Instructor s: Carlie Tart and Richard.
Lachowski . Write: Audrienne Vander
Pyl, 30153 Bristol Lane, Birmingha m.
MISSISSIPPI, UNIVERSI TY
June lO-August 19
The University of Mississipp i offers two
5~2-week terms in beginning and advanced ceramics. University credit at
both graduate and undergrad uate levels.
Instructor : Richard Joslin. Write: Department of Art, University of Mississippi, University .
NEW HAMPSHIRE, DURHAM
July 12-August 20
The Departme nt of the Arts at the
University of New Hampshire offers a
6-week session in ceramics conducted by
professor Alfred R. Potter. Write: Department of the Arts, Paul Creative
Arts Center, University of New Hampshire, Durham.
NEw JERSEY, NEWARK
June 30-August 4
The Newark Museum is offering a 6week Art Workshop for Adults in beginning and advanced wheel and handbuilt work. Instructor : James Knecht,
Jr. Write: Arts Workshop , The Newark
Museum, 43-49 Washingto n Street,
Newark 07101.
N E W MEXICO, RUIDOSO
July 12-31
Enameling Workshop is scheduling a 2week session in basic skills and various
techniques and methods of enameling .
Instructor : Ruth Hess Lutman. Write:
Mrs. H. Greggerso n, Mgr., Carrizo
Lodge, Ruidoso.
NEw YORK, ALFRED
June 28-August 6
Alfred University offers 6-week terms
in Ceramic Design and Pottery Production, both basic and advanced, and
Advanced Ceramic Design. Instructors :
Theodore A. Randall and Val Cushing.
Write: Fred H. Gertz, Summer Sessions, Alfred University , Box 805,
Alfred.
NEw YORK, BROOKLYN
July 6-August 13
Beginning and advanced work in ceramics and pottery is offered in a 6week session at Pratt Institute. Instructors: Mrs. Guthrie and Mr. Polansky.
Write: The Art School, Art Education
Departmen t, Pratt Institute, Brooklyn 5.
N~w YORK, CHAUTAUQUA
July 5-August 27
The Chautauqu a Institution is offering
one-to seven-wee k courses in ceramics,
ceramic sculpture and general crafts.
Instructor s: James T. Achuff and H.
Richard Duhme, Jr. Write: Joseph C.
Clarke, Director of Education , Chautauqua Institution , Chautauqu a.
NEW YORK, NEW YORK
June 1-July 26
Craft Students League is offering an
8-week summer workshop in ceramics.
Instructors : Roberta Leber and Gertrud
Continued on Page 37
CER AMA CTI VIT IES
people, places and things
TOWN AND COUNTRY
ALASKAN EXHIBITION
"Promotin g interest in ceramics and
making all of us better teachers," is the
aim of a new organizati on called Town
and Country Ceramic Association. This
group includes the south suburban area
of Chicago and its interest is primarily in
the problems of small studios. A workshop
is held on the first Sunday of every month
in order to promote interest and help the
teachers.
Officers of the new group include
Bonnie Klocke, president; Jim Herder,
vice president; Shirley Miller, recording
secretary; and Mary Zaikis, treasurer. Information on membersh ip may be obtained
by writing the correspon ding secretary,
Ruth Metzner, 5251 S. Menard Ave.,
Chicago, IlL
The annual Fur Rendezvou s Juried Exhibition for Alaskan artists and craftsmen,
held at the Alaska Methodist University
galleries in Anchorage , Alaska, on February 21, included objects of pottery, jewelry
and sculpture selected for entry by Boyer
Gonzales, Director of Art, University of
Washingto n at Seattle. Mr. Gonzales is
known nationally as a lecturer, juror and
artist and was formerly an instructor of
art at the University of Texas.
Alex Duff Combs, professor of art at the
: : : : : ;" : :': : : : : : : : : : : : : : : : : : : : : : ~ :
~ ~.~'~ : : : : : : : : : : "~
.............
i
NORTH DAKOTA EXHIBITION
A display of 30 pieces of ceramics by
four contempo rary potters was a part of
the University o/ North Dakota Fine Arts
Festival held in March at the University
Center, Grand Forks. The exhibition was
arranged by Dr. William Persick, chairman
of the UND ceramics departmen t. The
four participati ng ceramic artists were
F. Carlton Ball, Don March, Robert Ramsey and Ward Youry.
TRIPLE WINNER
Three blue ribbon awards in the recent
16th Annual Show of the Ceramic Hobby
Craft Association held in Long Beach,
California , went to Marcia Wollner. Mrs.
Wollner's ceramic work included an abstract wall hanging, a slab-built stoneware
lantern, and a bas relief with crystalline
glaze and stains. The artist operates the
Mar Wol Studio in Redondo Beach.
SYRACUSE REGIONAL WINNER
William Lau of Alfred, N.Y., received
the Syracuse Ceramic Guild Prize in the
13th Syracuse Regional Art Exhibition
held at the Everson Museum of Art from
March 5 - April 4. Mr. Lau's entry (pie-
~..~__- ~2~;:~-~,~,- ~
3
.......
University of Alaska Anchorage Commuity College, received a cash award from
the Northwest Region American Craftsmen's Council for his stoneware sculpture,
" T o t e m " ; this sculpture was also recommended for the Alaska Methodist University purchase award.
Other entries included a black-gree n
wheel thrown bottle by Margery McCormick, a handbuilt stoneware bottle by
Polly Lee, stoneware vases with a lavaeffect glaze from a local clay slip by Alcie
Nethken, a sculpture "The Hollow Man"
constructe d from wheel thrown clay segments by Alex Duff Combs, stoneware
beach birds mounted on a piece of driftwood and a stoneware Musk Ox by Paulin,~
Johnson. Pictured is a group of pottery
pieces included in the exhibition .
117:.+ ~ 1 % . [ = ii<i;;i + - 2 , < , ~ g ~ 6 ~ i . i . ~ i ; ) - ; : > .
tured) was a slab and coil pot.
Over 170 pieces of work in all fields
were accepted for the show by juror Seong
Moy, of New York. Ceramic pieces accepted for the show numbered 34.
The New Jersey Designer- Craftsmen is
a group of profession al and amateur craftsmen with a statewide membersh ip. The
group, which has exhibited for the past
ten, years, expresses an interest in maintaining high standards of workmans hip
and in promoting good contempo rary design.
TAYLOR POTTERY EXHIBITED
An exhibition of pottery by June Taylor was featured during the month of
March at the Zanesville (Ohio) Art Institute. The exhibit also included weaving
by Clara Creager, Columbus , Ohio.
Miss Taylor teaches ceramics at the
Zanesville High School and at the Art
Institute; during the summer months she
has been associated with the Tom Thatcher pottery on Martha's Vineyard, Massachusetts .
FARRELL STONEWAR E EXHIBITED
Recent work by Bill Farrell was exhibited at the Lafayette, Indiana, Art Center
during March. The stoneware forms shown
included lidded jars, canisters, platters
and altered forms, some of these encrusted
RIEGGER JOINS FACULTY
Hal Riegger, who has written a number
of articles for CM, is now on the faculty
of the University of California Extension
at San Francisco, where he is working on
an experimen tal teaching program in the
arts. In addition to these new duties, Mr.
Riegger is also working on a training
program for occupation al and recreation al
therapists at several of California 's mental
institution s.
NEW JERSEY GROUP EXHIBITS
~
Bakley, Edward Chandless, Mary Drake,
Ilse Johnson, David W. Jones, Sally Kunstadter, Marion Levinston, Richard Taylor, Rosemary Taylor, Toshiko Takaezu
and Nadine Weiss.
Recent work in ceramics, glass, metal,
weaving and wood by members of the
New Jersey Designer-C raftsmen was exhibited in February and March at the
Newark Museum. The 40 objects on view
were selected by Paul J. Smith, who acted
as a one-man jury. Merit awards were
made to Seymour Geller, for a stoneware
covered jar, and Erik Erickson, for a
stained glass panel. Other exhibitors in
the area of ceramics included Warren
with oxides, slabs and symbols. Pictured
is a large footed vase with a white heart,
showing the contrastin g surfaces used by
this artist. Mr. Farrell is a member of the
Art Departme nt at Purdue University .
INDIANA ACTIVITIES
Newly elected officers of the Indiana
Artist-Cra ftsmen are Gerald Boyce, president.; Evelyn Thornberr y, first vice presiContinued on Page 35
M a y 1965
33
MAKE
YOUR
OWN
GLAZES
Continued [rom Page 23
ilANDBOOKS
U s e d by teachers everywhere.
Ideal for hobby groups, schools,
art and craft centers. Threecolor covers; profusely illustrated
step-by-step photo technique.
CERAMIC PROJECTS by Thomas Sellers. An oustanding selection of projects
for the classroom, home and studio.
Fountains, planters, jewelry, bottles,
bowls and other items. 64 pages, $2.00
COPPER ENAMELING by Jo Rebert
and Jean O'Hara. Recognized as the
best in basic instruction, this complete
handbook has over 200 photographs. Includes fundamentals and illustrated howto-do-its on jewelry. 64 pages, $2.00
UNDERGLAZE DECORATION by Marc
Bellaire. This complete handbook has
all the answers on materials, tools and
techniques. Step-by-step projects are
profusely illustrated. 64 pages, $3.01)
TH R O W I N G ON THE POTTER'S
W H E E L by Thomas Sellers. Here's a
complete manual on how to use the potter's wheel. Covers all basic steps from
wedging clay to making specific shapes.
Over 200 photos. 80 pages, $4.00
DEALER INOUIRIES INVITED
r"
/
i
CERAMICS MONTHLY Rook Department
I
4175 N. High St.. Columbus, Ohio 45214
Please send me the following:
I
I
copies of CERAMIC PROJECTS @ $2
copies of COPPER ENAMELING @ $2
I
..copies of UNDERGLAZE DECORATION @ $3
I
copies of THROWING ON THE POTTER'S W H E E L @ $4
I Name_
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I
Address
I
I City
I enclose
Zn.
State
I
[ ] Cheek
[ ] Money Order
WE PAY POSTAGE
m(Ohi°smmResidentmaddsam3%lsalesm
sl
taX')mm m s mmm m J
L
m
34
Ceramics M o n t h l y
m
transparent glazes in the top row; a second row of opaque
glazes in white and four colors; a third row of rutile
glazes; a fourth containing both tin and rutile; and, as
a sort of P.S., a line of tests with other additives for
different textures.
Reading down each column, you should have four
green glazes running from transparent to opaque, matt,
"antique"; then four blues; four of a yellow-to-bro wn
tone; and four of purplish brown. Some of the glazes
will be more interesting than others, or more successful
in getting effects you'd like to use. You can select any
you particularly like, and make up a bigger batch that
is large enough to try on some pots. But first, let's check
for possible faults to look for, before you consider your
results final.
1. Was the glaze applied too thin or too thick?
2. Was the colorant ground enough, or did it speckle
when you were searching for a smooth color?
3. Was the tile fired before it was thoroughly dry?
If it was, the glaze probably crawled, leaving bare spots.
(A dirty or dusty tile can cause crawling, too.)
4. Did you fire at the right temperature? Sometimes
in the same firing, in the same kiln, an identical glaze
will be overtired on the top shelf or underfired on the
bottom shelf. T o o high a fire can make a glaze run or
make a matt glaze shiny. T o o low a fire can produce a
rough, immature glaze. Stud), your kiln's habits as you
work.
5. Did some of the glazes crackle on your clay? Most
transparent glazes tend to crackle on a natural red clay,
but other forms of the glaze (matts, for example) mav
be smooth. (There are some "cures" for crackles, but
that's another story--for another day.)
6. I n the last line, with different matting agents,
study the varying degree of mattness and opacity. Some
will be semi-matt, some may be too dry to be attractive.
You can select those you like for further use.
Where do you go from here? You have made tap
one glaze from a recipe. N o w you can use the same
technique for trying other recipes, wherever you find
them.
You have learned to add color or texture to one
glaze. Try the same method with other glazes. You'll
find some surprises. Copper, for example, makes one
glaze olive green, another bright green, still a third turquoise. That's why it is so important to know how to test
a glaze before you use it.
So far, however, you have used only one strength
of each color and each additive. If you want lighter or
darker shades, or a smaller degree of opacity or matting,
you'll find your test methods will work very well to help
you find out how much of each ingredient to use. That's
the problem for the next lesson. It will give you simple
test techniques to answer the question "how much?" and
to venture into explorations for the intermediate colors
you get by mixing more than one oxide into a glaze.
CERAMACTIVITIES
Continued from Page 33
that interm ix.., from
art clay to stonew are
Outstandingresults! Yet Ceramichrome"ClassTested" ceramic colors are simply applied,
easily used. Use one over the other...intermix
as you wish...and fire from cone 06 to cone
6 or any temperature in between.
CLASS-TESTED Teachers tell us that these
FOR SIMPLICITY ceramic colors bring out
AND EASE the creativity in students who
OF USE! have been discouragedby more difficult media. Brilliant effects inspire those
who have shown no previous talent.
YOU CAN DO EVERYTHINGWITH
CERAMICHROMEGO-TOGETHERCOLORS...
There are no impossible combinationsof colors
andglazes.Thoughcolor requirementsvaryfrom
personto personand schoolto school, Ceramichrome intermixable colors meet them all.
dent; Karl Martz, second vice president;
Sally Gallaway, treasurer; Mildred Haskens, recording secretary; and Terry Illes,
correspond ing secretary. Karl Martz, who
is a professor of ceramic art at Indiana
University , recently was elected president
of the Regional Assembly of the ACC in
Chicago.
Coming events sponsored by the IAC
include the Talbot Street Art Fair, to be
held in Indianapo lis on May 15-16, and
the "Indiana Crafts '65" exhibition , cosponsored with the Herron Museum o[ Art,
May 23-June 20. This show is open to
residents of Indiana in all craft media.
MARIA POTTERYTO BERLIN
A representa tive selection of work by
San Ildefonso potters Maria Martinez and
her son, Popovi Da, was picked out during
a recent visit to the pueblo by Dr. Horst
Hartmann , head of the Departme nt of
Ethnology for the Museum fur Volkerkunde in Berlin, Germany. Dr. Hartmann
is in America collecting cultural information representa tive of its aboriginal people.
Pottery by Maria is also being preserved
new
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ENAMELING SUPPLIES
"Everything for the Eiamelisr'
Included are Kiln Stand and three
other features pioneered by Crusade r - - " S t e p Input S w i t c h e s " - - " F u l l
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6 models to choose from.
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Mention CM
writing o u r advertis ers
Please
when
by the Peabody Museum. llarvmd knivarsity, and the Museum of New Mexico.
Her work has been shown at several
World's Fairs, including the current one
in New York. A portfolio on the life and
work of Maria was featured in the June
1964 issue of CM. Pictured are Maria and
Popovi Da with some of the pottery selected for the Berlin museum.
CLEVELAND JURY ANNOUNCED
AL
Send ~or
colorful
brochure @
~ : ~ •~
;7~,~i,~'f~.a's.~
-_,
drudger~..,
creative cfttwt
oo,
• • ,for
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•
-
save time for
in,truction
an~]
The jury for the craft section of the
47th May Show of the Clevela,nd Museum
of Art includes David Black, Professor of
Fine Arts at The Ohio State University,
Columbus ; William Katzenback, Co-ordinator for the Decorative Arts Exhibition
program of the American Federation of
Arts; and Marianne Strengell, designer
and weaver of New York City. The show
opens on May 5 and runs through June 13.
SCHOLARSHIPS ANNOUNCED
The Louis Comfort Tiffany Scholar.
ships for 1964 have been announced and
they include awards to 11 craftsmen in
Also a complete line of
economy models
Anl~oui,~c~n¢
KILNAUIONAII0bl
Also new from Crusader - - The
First Lo-Cost, Automati c Firin9
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of our line of 10 controls, when used
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Send for full details
DEALERS AND DISTRIBUTO RS WANTED
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Continued on Page 36
M a y , 1965
35
CATALOG
#7
This new 64-page catalog lists
everythin g you need - - a complete
line of kilns, glazes, tools plus general supplies and equipmen t, with
many new items added. Hobbyists ,
teachers and studio potters will find
the catalog invaluabl e.
You'll want a copy of this all new
catalog at hand the very next time
you need ceramic, mosaic or metal
enamelin g supplies for your home
studio or school.
SEND FOR YOUR COPY NOW . . . . 5Oc
TEACHERS NOTE: This catalog is sent FREE
to schools, institutions and craft shops.
CERAM ACTIVI TIES
Continued from Page 35
the amount of $16,000. Craftsmen receiving grants in the field of stained glass
include Richard Beaman, Pennsylva nia;
Erik Erickson, New Jersey; George R.
Lewis, Washingto n, D.C.; Joseph Meert,
New York; David Rubinstein , New York;
and Bob White, Illinois
NEW YORK A-C WINNERS ANNOUNCE D
The annual exhibition of Artist-Cra ftsmen o[ New York is being held at the
National Design Center through May 23.
Among the 262 items selected for showing,
the following ceramic and glass items received recognitio n: "Woman," terra cotta
figure by Morag Benepe; Figure with
pulled glass constructio n by David K.
Whittmore ; Stained glass constructio n
sculpture by Mariette Bevington ; Ceramic
vases by R. Leigh Clover; Ceramic hordes
by Estelle Halper; and Slab-built boulder
pot by Lee Levy.
Send news, and photos if available, about
"People-- Places--T hings" you think will
be of ceramic interest. We will be happy
to consider them ]or use in this column.
VANHOWE
CERAMIC
ITINER ARY
Continued [rom Page 1l
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36 Ceramics Monthly
NEW HAMPSHIRE, HANOVER
May 19-June 5 Ceramics, from the
Japan Society, at Hopkins Center, Dartmouth College.
NEw JERSEY, NEWARK
Junior Museum Annual Exhibition , at the Newark Museum.
May 22-]une 22
NEw YORK, NEW YORK
Continuin g "Ancient Peruvian Ceramics: The Nathan C. Cummings Collection" contains over 300 objects dating from
1000 B.C. to 1500 A.D. At the Metropolitan Museum of Art.
NEw YORK, NEW YORK
through May 23 Annual Exhibition of
the Artist-Cra ftsmen of New York, at the
National Design Center.
NEW YORK, NEW YORK
May 3-28 "The Architect Chooses Art,"
an exhibition of design for architectur e,
includes work in stained glass, ceramics,
mosaics and enamels. At the Architectu ral
League, 115 East 40th St.
NEW YORK, NEw YORK
May 13-15 Annual Bazaar of the Greenwich House Pottery School, 16 Jones St.
NEw YORK, SYRACUSE
May 8-23 Ceramics, paintings and drawings by children enrolled in Museum
classes, at the Everson Museum of Art.
OHIO, AKRON
through June 6 Spring Show, at the
Akron Art Institute.
Continued on Page 37
J E A N LEONA RD CERAM ICS
Coreaa, L. L, N. Y.
9624 Corona Ave.
MAGIC GREENWARE RELEASE (B oz.)..S1.2S
Save yourself aggravation. Releases greenware in half the time. will not stick.
KILN SURFACE BRICK HARDENER
$1.75
(16 oz.) . . . . . . . . . . . . . . . . . . . . . . . . .
Will harden and prolonq the life of your
kiln. Stops the kiln brick from shedding and
flaking.
POTTER'S TOOLS
BAMBOO TEAPOT HANDLES
CLAYS
GLAZES
2410 E, 38th St.
Minneapolis,
BEE BASCH
KILNS
Minn.
DESIGN S
70 Pine & First Sts., Englowood, Fla.
Our Molds are designed for CREATIVE use
and EDUCATION AL purpose
Send $1.00 t o d a y for
Illustrated C a t a l o g , Tips & Ideas
NEW
CERAMIC
CATALOG
Contains 64 pages with a complete line of
ceramic supplies, including kl ns, paint and
glaze, tools and equipment.
Only 50c postpaid to addresses in Utah,
Idaho, Montana, Wyoming and Nevada. All
other addresses, S1.00 postpaid.
Free ta schools, institutions and military
craft shops when requested on letterhead.
SEND FOR YOUR COPY TODAY!
CAPITAl CERAMICS
Dept. CM, 2174 S. Main
Salt Lake City, Utah 84115
1965 revision Catalog of 6000 molds
$1.25
from 45 companies . . . . . . . . . .
New Mold Supplement only . . . . .
50c
(to bring 1964 catalog up-to-date)
Co.ntinued [ram Page 36
$1.50
Large Supply Catalog . . . . . . . . .
(Refundable on $1S Order)
May 25-June 21 The 23rd Ceramic National Exhibition, circulated by the Everson
Museum, at the Cincinnat i Art Museum.
Midwest Ceramic Center
OHIO, CLEVELAND
KansasCity. Missouri
VITREOUS STONEWARE CASTING SLIP
• . . for cone S firing. Matching cone S
glazes available. Write for prices.
GARE CERAMIC SUPPLY CO.
P. O. Box 830, Haverhill, Mass.
"Tops in tools for Ceramics"
Ask your dealer to show you these
OHIO, CINCINNATI
"Dos & Don'ts of Ceramics "....$1.50
722 Southwest Blvd.
KEMPERTOOLS
ITINERARY
KEMPER LOOP TOOLS
Show of work by artists and craftsmen of
Ohio's Western Reserve, at the Cleveland
Museum of Art.
KEMPER
OHIO, CLEVELAND
Nos. L. & S (Cases included) . . . . $1.00 ea.
through June 29 "Pottery Through the
Ages," at Karamu House Art Gallery.
KEMPER
OHIOj COL U,~,IBUS
through May 1 Stained Glass by Carl E.
.... pgDEL E'5 $ 7 9 . 5 0 ~ ~ h . ~
~L
.N
LEA
" E A S y TOC
" E A S y TOU S E
~
"EASYTO5TORE
, RORD/$TR/B/JI-OR.. ORWRITE
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SEEYO/RDE#
"
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~
GILMOUR CAMPBELL
1.42.58 MALDEN
•
DETROIT]3, MICH.~] J ' ~ - - ~ ' - ~
Ceramic and Art Supplies
AMACO Clays, Glazes etc.
Many fine ceramic and art books
Kilns . Wheels
MIAMI STUDIO SHOP
Miami, Florida
2360 W. Flagler
items...
Over 5 0 0 0
IN THE BERGEN CATALOG FOR '65
• Copper Enameling (America's largest selection)
• Ceramics • Jewelry • Mosaics • Plastics
• Reed • Raffia and other crafts
SEND FOR YOUR FREE COPY TODAY
BERGEN ARTS & CRAFTS
Dept. C, Box 689, Salem, Mass.
Art-Cra fts Supplies, Inc.
Miami, Florida
23S N.E. 67th St.
Distributor for:
PARAGON Kilns a DUNCAN, SYMPHONY,
CERAMICHROME and DRAKENF ELD
MARX Brushes a JAC(~UELYN Stains
KEMPER
SUPPLY
4128 Secor Rd., Toledo, Ohio 43623
N o r t h w e s t e r n Ohio's L a r g e s t
W h o l e s a l e Supply House
We cater to schools
Sorry ~ no catalog
~
W . P. D A W S O N
'
RIBBON
TOOLS
Nos. R1, R2, R3, R4, & RS. . . . . . . 80c ca.
Labino, at the Toledo Museum of Art.
Sold only
by
Authorized
Dealers
1100 " H " East ASk
Fullerton, California
Write for new FREE
May 9-30 The 47th Annual Exhibition
of Toledo Area Artists, at the Toledo Museum of Art.
196S Kemper Catalog
OREGON, PORTLAND
May Pottery by R a l p h and L o r e n e
Spencer, at the Oregon Ceramic Studio.
KemperManufacturingCo.
PENNSLYVANIAj PHILADELPHIA
P,O. Box 545. Chino, California 91710
through May 9 The 23rd Ceramic Na-
tional Exhibition, sponsored by the Everson Museum, at the Commerci al Museum,
Philadelph ia Civic Center.
TENNESSE E, MEMPHIS
May 1-30 Mississippi River Craft Show.
sponsored by the Memphis Branch of the
American Association of University Women, at Brooks Memorial Art Gallery.
Big ~TA Ceramic Supply
INSTRUCTIO N-CATALOG
with beautiful color charts now reodyl
50c refundable
(FREE to Schools and Institutions)
WASHINGTON, SEATTLE
through May 9 Ceramics and drawings
•
WASHINGTON, SEATTLE
through May 29 The 13th Annual
Northwest Craftsmen 's Exhibition shows
work by artists of Washington, Oregon,
Montana, Alaska and Idaho. At the Henry
Gallery, University of Washington•
WORKSHOPS
[]
•
l
•
TEPPING STUDIO SUPPLY CO. •
by Harold Myers, at the Henry Gallery•
Continued [rom Page 32
SECOR CERAMIC
60c ca.
OHIO, TOLEDO
','
'
TOOL
CUTOUT
(,Case included I . . . . . . . . . . . . . . . .
Paulson, at the Helen Winnemor e Shop.
through May 9 Glass by Dominick
'0
TOOLS
CARVING
DETAIL
OHIo, TOLEDO
AL"~I~1~[(~k1 ;/I,' I I 111:[4 I ' l l &
NEW PROFESSION
:
-w - -n - - - -g-=-r - • - --
85c ea.
Nos. 2, 3, 4 & 5 . . . . . . . . . . . . . . . . .
May 5-June 13 The 47th Annual May
professional staff
',
'
IN
MOLDS
I
t
'
STOCK
Hundreds of new molds from all leading
mold companies kept in stock at all times.
Stop in and see our large selection.
CENTRAL CERAMICART SUPPLYCO.
Batavia Rood, East of Rf. S9
Warrenville , III. (Suburb of Chicago) 393-0171
m
m
=ram
m
m
m
m
Englander. Write: @raft Student League,
840 Eighth Ave., New York.
NEW YORK, ROCHESTER
July 6-August 13
The School for American Craftsmen of
the Rochester Institute of Technolog y
offers a 6-week summer session in ceramics and ceramic sculpture for both
graduate and undergrad uate credit. Instructors: Frans Wildenhai n and Hobart
CoMes. Write: Director, the Summer
Sessions, Rochester Institute of Technology, 65 Plymouth Ave. S., Rochester
14608.
CLAYS
GLAZES
TOOLS
KILNS
Schools and institutions write for
FREfi literature.
Continued on Page 38
May 1965
37
Advertisers Index
PENLAND
May 1965
SCHOOL OF CRAFTS
MAY 31 - SEPT. 25
WEAVING - - Hellman. Znamerouski, Blumenau.
Cruickshank, Adler. Laurell,
S]oman, Phillips
CERAMICS ~ Burke, Bangert, Sedestrom, Brlngle,
Farrell, Gray
METAL
--Ebendorf , Bond, Sims
VISITING SCHOLARS - - Toshlko Takaezu, Marilyn
Pappas, Charlle Brown, Frank Colson
WORKSHOPS
Continued [rom Page 37
NORTH CAROLINA, PENLAND
May M-Septem ber 25
Penland School of Crafts offers 2- and
3-week sessions in ceramics, enameling
and other crafts. Courses for credit
arranged through East Tennessee State
College. Write: Penland School of
Crafts, Penland.
Catalog upon request
PENLAND SCHOOL OF CRAFTS
North Corolino
Box M, Penlond,
OHIO, DAYTON
<~
June 1-July 3
WORCE
STER
CRAFTCENTER
4 WEEKS SUMMER WORKSHOP
T a h a r a School of Ceramics offers a 5week course in metal enameling and
pottery (wheel, h a n d techniques and
decoration ). Instructor s: Carlie Tart,
Helen Altieri, and Richard Lachowski .
Write: T a h a r a School of Ceramic Arts
and Crafts, 1001 Shiloh Springs Rd.
S
July 5th through 30th, 1965
Attend one week, two weeks, or more.
Instruction in 5 major crafts.
All day workshops, rooms available.
Brochure: Dept. CM.
28 Sagamore Road, Worcester, Mass. 617-783-8183
OREGON, SALEM
12th ANNUAL
July 19-August 20
York State Craft Fair
T h e Salem Art Associatio n offers a 4week course in wheel-thro wing, glazing
and outdoor firing at Bush House. Instructor: Kichard Trojen. Write: Bush
House, 600 Mission St., Salem.
August 2nd ¢hru 7th, 196B
Ithaca High School, Ithaca, N.Y.
DEMONSTR ATIONS
•
EXHIBITS •
SALES
QUEBEC, NORTH HATLEY
June 28-August 28
T h e Workshop offers three 3-week sessions in pottery for amateurs and professionals. Instructor s to be announced .
Write: T h e Workshop , Box 181, North
Harley, Quebec, Canada.
TENNESSEE, GATLINBURO
June 14-July 23
Craft Workshop in the Smokies offers
full and half sessions in beginning and
advanced ceramics and enameling , and
a short session (July 19-23) in advanced
enameling . Intructors : Ann S. Van
Aken (ceramics) and D o n n a Read
(enamelin g). T h e short course will be
taught by Charles Bartley Jeff cry.
Credit: graduate, undergrad uate, noncredit. Write: Craft Workshop , Pi Beta
Phi Settlemen t School, Gatlinburg .
The Famous
KLOPFENSTEIN
POTTER'S WHEEL
Write
f o r FREE I n f o r m a t i o n
H. B. KLOPFENSTEIN& SONS
RFD. # 2
Dept. A
CERAMICS
COPPER
-
Crestline, Ohio
MOSAICS
UTAH, SALT LAKE CITY
ENAMELING
June 28-July 23
"A" Huge Stocks ~
Fast Service ~c" Quality
Merchandise ~tr Write now for FREE literature
University of U t a h offers 4-week courses
in ceramics and metal design. Instructors: Bill Sage and Quinton Neal.
Write: University of Utah, Departme nt
of Art, Building 441, Salt Lake City 12.
ILLINI CERAMIC SERVICE
439 Norlb Wells, Chic.ago 10, Illinois
VERMONTj CHARLOTTE
MAKE YOUR OWN
July 1-August 26
Wing's Point Pottery Workshop offers
instruction in wheel work, handbu~ld ing,
decorating , glazing and firing. Write:
Mrs. K. P. Grenfell, 1168 Lowell Rd.,
Schenecta dy, N.Y. After June 22, write:
T h e Workshop , Charlotte, Vt.
MOSA IC TABL E
You send a drawing or pic~ture and we adapt ~o.
mosaics. Instructions included. $1.00 per sq. .
Bennett Ceramic Hobby Shop
Dahlonecja
Georgia
VERMONT, LUDLOW
July 5-August 28
[
38
Ceramics M o n t h l y
Alpine Kilns . . . . . . . . . . . . . . . . . . . . . .
6
American Art Clay Company . . . . . . . .
4
Anderson Ceramics Co . . . . . . . . . . . . . .
36
Art-Craft Supplies, Inc . . . . . . . . . . . . . .
37
B & I Mfg. Co . . . . . . . . . . . . . . . . . . . .
6
Basch, Bee, Designs . . . . . . . . . . . . . . . .
36
Bennett Ceramic Hobby Shop . . . . . . . 38
Bergen Arts & Crafts . . . . . . . . . . . . . . .
37
Campbell, Gilmour . . . . . . . . . . . . .
35, 37
Capital Ceramics . . . . . . . . . . . . . . . . . .
36
Central Ceramic Art Supply . . . . . . . . .
37
Ceramic Exposition s, Inc . . . . . . . . . . . .
9
Ceramichr ome . . . . . . . . . . . . . . . . . . . . .
35
Creek-Tur n . . . . . . . . . . . . . . . . . . . . . . .
38
Crusader Industries . . . . . . . . . . . . . . . .
35
Dawson, W.P . . . . . . . . . . . . . . . . . . . . . .
37
Duncan's Ceramic Products . . . . . . . . .
7
Francoise Ceramics . . . . . . . . . . . . . . . . .
36
Gare Ceramic Supply Co . . . . . . . . . . . .
37
Illini Ceramic Sen'ice . . . . . . . . . . . . . .
38
Industrial Minerals & Chemical C o . . . 5
Kemper Mfg. Co . . . . . . . . . . . . . . . . . . .
37
Kinney, Kay . . . . . . . . . . . . . . . . . . . . . .
36
Klopfenste in, H.B. & Sons . . . . . . . . . .
38
Kraft Korner . . . . . . . . . . . . . . . . . . . . .
35
L & L Mfg. Co . . . . . . . . . . . . . .
Cover 2
Leonard, Jean, Ceramics . . . . . . . . . . . .
36
Mayco Colors . . . . . . . . . . . . . . . . . . . . .
11
Miami Studio Shop . . . . . . . . . . . . . . . .
37
Midwest Ceramic Center . . . . . . . . . . . .
37
Minnesota Clay Co . . . . . . . . . . . . . . . . .
36
National Ceramic Manufactu rers Assn. 3
Norwest Novelty Co . . . . . . . . . . . . . . . .
36
Ohaus Scale Co . . . . . . . . . . . . . . . . . . . .
8
Ohio Ceramic Supply . . . . . . . . . . . . . .
37
Orton Ceramic Foundatio n . . . . . . . . . .
8
Penland School of Crafts . . . . . . . . . . .
38
Reward . . . . . . . . . . . . . . . . . . . . . . . . . .
4
Rovin Ceramics . . . . . . . . . . . . . . . . . . . .
4
Secor Ceramic Supply . . . . . . . . . . . . . .
37
Skutt & Sons . . . . . . . . . . . . . . . . .
Cover 4
Tepping Studio Supply Co . . . . . . . . . .
37
Thompson , T h o m a s C., Co . . . . . . . . . .
10
Trinity Ceramic Supply . . . . . . . . . . . . .
36
Unique Kilns . . . . . . . . . . . . . . . . . . . . . .
38
Van Howe Ceramic Supply . . . . . . . . .
36
Vars, D.M . . . . . . . . . . . . . . . . . . . . . . . . .
36
Walker J a m a r Co . . . . . . . . . . . . . . . . . .
35
Westwood Ceramic Supply . . . . . . . . . .
8
Worcester Craft Center . . . . . . . . . . . . .
38
York State Craft Fair . . . . . . . . . . . . . .
38
Fletcher Farm Craft School offers four
2-week courses in enameling , pottery,
sculpturin g (and other crafts). Instructors are: Lorna Manzler, R a l p h Parente,
Jr., Berta Frey, and Sirkka Ahlskog.
Write: Mrs. Harriet Clark Turnquist ,
Chelsea, Vermont 05038.
Back Issues
The [ollowing back issues o[ Ceramics
Monthly are still available at sixty cents
per copy (Ohio residents pay 3% sales
tax). We pay postage.
1~53
1954
1955
1956
i957
1958
1959
1960
1961
1962
1963
1964
1965
June, July, August, December
March, July, August, December
August, November
May, October, December
April, May, June, July, September, December
April, June, September, November
November, December
June
April, June, October
January (9-year Index issue), February,
April, May, June, November
September, November
February, May, June, November, December
January, February. March. April
Please send remittance (check or money
order) with list o[ issues desired.
CERAMICS MONTHL Y
4175 N. High St. Columbus , Ohio 43214
~~ILL
The fascinating
subjec t of brush
will
decoration
t a k e on a new
meani ng for those
using this new
easy '- to - follow
i n s t r u c t i o n book.
is
The reader
shown how easy it
is to make original, simply execut ed design s for decorating ceram ics by using just three basic
brushe s - - the waterc olor, liner and
square shader . This excitin g new book has
a compl ete section on techni ques of brushwork never before publis hed. To demon strate the simpll city and effecti veness of
the many design techni ques appea ring in
the book, Marc Bellair e is shown compl eting severa l of his favori te decora ting
projec ts which origina lly appear ed as
magaz ine article s in Ceram ics Month ly.
Here in Marc Bellair e's own words is the
aim of the book. "It is the purpos e of this
handb ook to presen t the metho d of freehand brush decora tion that I have develope d during fifteen years of teachi ng
and design ing in the ceram ic art field. By
follow ing this metho d, I believe that even
an individ ual withou t any art back.g round
can learn to make the basic brush strokes
and then combi ne them into design units
that can be used to decora te pottery . It
is my hope that the reader n]tima tely will
be inspire d to arrang e these basic shapes
into new forms and thus discov er, invent
or create ceram ic desig'ns that are unique ly
his own."
This attract ive edition will provid e instructi on for hobby ists and studen ts in
every detail of using and caring for brushsketch es appear ing
es. Design s and
throug hout the book will offer many
decora ting ideas and will be a lasting
source of inspira tion. Order your copy
now . . . only $3.
~
.
~
,
An ideal handbo ok for hobby groups , schools
and art & craft centers . Beautiful three-c o/or
cover, hundre ds of sketches and photos, full
8//3 ,' x 11" format, 64 pages pJus covers. Sold
on our usual
money-back guaran tee.
Dealer
m m
m m
InquiHes Invited
i
m
m
m
Ceramics Monthly Book Department
Columbus, Ohio 43214
4175 N. High St.
of the new BRUSH
copies
_
_
me
send
Please
DECORATION FOR CERAMICS @ $3 each.
Name
Addres s_
City__
State
Tip__
I enclose [ ] Check [ ] Money Order
(Ohio Residents Add 9c Sales Tax Per Copy)
WE PAY POSTAGE
Skutt
O
O
SUGGESTED
FACTORY LIST PRICE
•
•
0
0
LIST PRICE
ITEM
O
0
O
O
•
Skutt Kiln Model 181
O
0
0
O
O
®
O
0
$ t85.00
Stainless Steel Encasement
....
0
00.00
Automatic S h u t - O f f (built in for p e r m a n e n t a l i g n m e n t )
.
oo. o o _ _ ~
Crating
•
00.00
UL Approval (only kiln of its type with this important feature)
00.00
I l l u s t r a t e d , 2 8 - P a g e Owner's M a n u a l
00.00
W e l d e d Steel Stand
00.00
Two (2) year ~uarantee on all parts and workmanship
00.00
Stainless Steel Cleaner
00,00
Wall Receptacle and Wall Plate
00.00
Screw Driver for Small Set Screws
00.00
TOTAL
O
O
O
O
O
0
0
$ 185.00
O
O
.
O
SKUTT & SONS •
CERAMIC KILNS •
POTTER'S WHEELS •
O
2618 S.E, STEELE STREET •
PORTLANO 2. OREGON
O
O
Wh y don 't we charge for the extras?
Because we don't conside r them extras, They're necessities! When you buy a kiln,
be sure to
look at the total cost, You'll find that many of the "bargai n" kilns aren't such a bargain
at all,
And they don't have UL Approva l--or a comprehensive two year guarantee. There
are five
Skutt kiln models to choose from. They have all the
extras listed above-- at no extra cost. Why not
send for our new brochure, today?
SKUTT&SONS
•
CERAMIC KILNS •
POTTER'S WHEELS •
2618S.E. STEELE STREET •
PORTLAN D 2, OREGON