here - Ceramic Arts Daily

FEBRUARY
197S
80c:
ig Wl,leels
The Shimpo- West ® R K-2 Basic Potter's Wheel wouldn' t be what it is today
if it weren't for its distribut ors. They're the real driving force behind the wheel.
~J~.WEST
ARIZONA
Charmer Ceramics
2126 N. Stone
Tuscon, A Z 8 5 7 0 5
F r a n k l i n Gallery
105 N. Beaver
.Flagstaff, A Z 66001
Hill Brothers
4450 N. 4 2 n d St.
Phoenix, A Z 8 5 0 1 9
Marion Ceramic Shop
3418 N. 2 4 t h St.
Phoenix, A Z 85016
Payson A r t Center
P.O. Box 879
Payson, A Z 85541
Shop of A r t
26 E. University Dr.
Tempe, A Z 85281
CALIFORNIA
Stewarts of California
16055 Heron Ave.
La Mirada, CA 90636
PO BO= 2315 [A PUENTE CALIFORNIA 91746
MICHIGAN
PENNSYLVANIA
Stoneware Designs
Rovin Ceramics
6912 Schaefer Rd.
Dearborn, MI 4B126
Blakely Ceramics
1500 Evergreen Ave.
Pittsburgh, PA 15209
3215 Pico
Santa Monica, CA 9 0 4 0 5
MINNESOTA
Way Craft Ceramics
394 Delaware
Imperial Beach, CA 92032
Minnesota Clay Co.
8001 Grand Ave.
B l o o m i n g t o n , MN 55420
Potlatch Pottery
722 W. Erie Ave.
Philadelphia , PA 19140
TENNESSEE
COLORADO
Paramount Ceramics
220 N. State St.
E a i r m o n t , MN 56031
Gallery III
115-A S t a d i u m Dr.
Hendersonvi lle, TN 37075
MISSISSIPP I
The Potters Mark
Rt. 1, B u c k h o r n Rd.
G a t l i n b u r g , TN 37738
Van Howe Ceramic S u p p l y
11975 E. 4 0 t h St.
Denver, CO 60239
DELAWARE
A.K.G. H a n d c r a f t e d J e w e l r y
1114 Greentree Rd.
Newark, DE 19711
FLORIDA
Ford Pottery
4653 Maurey Rd.
Jackson, MS 39211
MISSOURI
L & R Specialties
101 W. M t . Vernon
P.O. Box 309
Nixa, MO 65714
AarcJvark
1400 Pomona St.
Santa Ana, CA 92705
Helen Bennett
Stoneware Pottery
940 Lancaster Dr.
Orlando, FL 32806
CreativeCeramicSupplyCo.
2552 C Albatross Way
Sacramento, C A 9 5 6 1 5
Paul S t r o m g r e n
4708 D i s t r i b u t i o n Dr.
Tampa, F L 33619
Clarice's S t u d i o
803 W. Park St.
Butte, M T 59701
Desert Ceramics
1991 Cypress Dr.
El Centro, CA 92243
GEORGIA
NEBRASKA
Bug T o w n Clay
75 J. Mendel Dr. S.W.
A t l a n t a , G A 30336
Professional CeramicSup ply
1113 Farnam St.
Omaha, NE 66102
Eurekan Gallery of
Fine Arts
329 " E " St.
Eureka, CA 95501
Martin Chodos
913 W. Fern Or.
F u t l e r t o n , CA 92633
The Crackpot
540 E. Main St.
Venture. CA 93001
Duncan Ceramics
5673 E. Shields
Fresno, CA 93727
Industrial Mineral Co.
7275 Reese Rd.
Florin, CA 95828
Leisure Craft
P . O . Box 61 E. Marie St.
C o m p t o n , CA 90221
Kickwheel P o t t e r y & S u p p l y
2934 Jason Ct.
Marietta, G A
MONTANA
HAWAII
Ceramics Hawaii
629 C Cooke St.
H o n o l u l u , HI 96613
Pupick Pottery S u p p l y
365 E d g e w o o d Ave.
Teaneck, NJ 07666
IDAHO
Salem Craftsmens G u i l d
3 A l v i n Place
Upper M o n t c l a i r , NJ 07043
ILLINOIS
Dick Blick
P.O. Box 1267
Galesburg, II- 61401
T h u n d e r Ridge Pottery
725 Juralamon St. , A p t . 78
Belleville, NJ 07109
Bateman Ceramic S u p p l y
718 Pierce St.
Dallas, T X 75211
Ceramic S u p p l y
706 R i c h m o n d Ave.
Houston, T X 77006
Fire Arts
300 Augusta St.
San A n t o n i o , T X 78205
Hilda S m i t h A r t S t u d i o
3006 Cole Ave.
Waco, T X 76707
Houston Arts & Crafts
2049 Marshall
Houston, T X 77006
Marshu Ceramics
7042 Alameda
El Paso, T X 79940
Susan Pope
3031 S o u t h l a n d Blvd.
San Angelo, T X 76901
Wet)co S u p p l y Co.
829 L i n d s l e y l a n d
Tyler. T X 75715
UTAH
NEW M E X I C O
Van H o w e o f AIt)erquerqu e
4810 Pan Amer. Frwy. N E
AIt)erquerqu e, NM 88719
Leslie Ceramics
1212 San Pat)lo
Berkeley, CA 94706
The Clay People
3345 N. Heisted
Chicago, IL 60657
McGee Designs
408 Main St.
Yuba City, CA 95991
Central A r t S u p p l y
P.O. Box P
29 W. 555 Batavia Rd.
Warrenville, I L 60555
The Mudslingers
778 Higuera No. 13
Graham Ceramics
1319 Central Ave.
P.O. Box 12462
Charlotte, NC 28205
KANSAS
NORTH DAKOTA
San LuisObispo, CA 93401
O l d Adot)e Ceramics
16461 Los GelDS
Evans Ceramic S u p p l y
1518 S. Washington
Wichita, KS 67211
N o r t h w e s t Ceramic S u p p l y
P.O. Box 1175
Fargo, ND 58102
Los Gatos, CA 95030
KENTUCKY
OKLAHOMA
O w l Creek Pottery
P.O. Box 23163
Anchorage, K Y 40223
Janey Crain S t u d i o
1501 NW 25th St.
O k l a h o m a C i t y , O K 73106
Our Pottery Shop
231 S. Valvez Dr.
Brea, C A 92621
Avery's A r t S t u d i o
8607 N. New 6raunfels
San A n t o n i o , T X 78217
NEW J E R S E Y
Supplies Supplies
260 Woodbridge Center
Woodbridge, NJ 87107
Lakeside Gallery
611 Lakeside
Coeur d' Arlene, I D 8 3 8 1 4
TEXAS
NORTH CAROLINA
Pot Farm
2909 Santa i o n i c a Bird.
Santa i o n i c a , C A 9 0 4 0 4
Pot Gallery
2994 Thousand Oaks
Thousand Oaks, CA 91360
MARYLAND
OREGON
Eagle Ceramics
12264 Wilkins Ave.
Rockville, ME) 20852
The Potters S t u d i o
2105 Pontius Ave.
W. Los Angeles, CA 90025
Mac M i l l i a n Arts & Crafts
9520 B a l t i m o r e Ave.
College Park, MD 20740
A r t Pak Products
P.O. Box 17356
8106 N. Denver Ave.
Portland, OR 97217
Capital Ceramics
2174 S. Main St.
Salt Lake C i t y , UT 84115
VIRGINIA
Earthworks
3422 H a w t h o r n e
Richmond, VA 23222
MC S t u d i o
4115 Hopkins Rd.
R i c h m o n d , V A 23234
WASHINGTON
Spencer Pottery
4861 S. 144th St.
Seattle, WA 98168
WISCONSIN
The Pottery
2029 Parmenter St.
M i d d l e t o n , WI.
53562
Sex Arts & Crafts
207 N. M i l w a u k e e St.
M i l w a u k e e , Wl 53202
O
mm
lu0
~_ - ~
Q,1 " ' ~
!--
m
o
=~:
,~.
!--
,i
Q,t
Z
G.
Z~
~8
z~ow
~
z
--Z
a
~
v so~~
~
.=~o
.~
~
~Oz
.=o~
~0~
~_
o
~ ~ I
wO~
<
m<~z
~-
u
~--(9
u)n-
0 ~
u)<c
z
.~Z
vmx
zo
~z
.I--I-O~(n <[
(:3
z
Z
o
U)
Z
IZ
UjLU
.~:E
m"~
.<n-
<>.
(nZ
Z,<
--.:s
~'3::
2......
.
<~
~i:122ii:121
ci
X
o
.,d
~~
O
O
~
.~=
~
~
mm
-~o~
~>°~"
o
-r
D.
uJ
I.-
m
..J
0
::3
(n
~z.
_J
z
.a
~ow
~
February
1975
3
Pottery
'neels
Alpine wheels have been designed by pottery
craftsmen to meet the requirements of professional
ceramists, schools, universities, and art institutions.
A wide selection of models range from the centuries old "Kick Wheel," to the electronically controlled models with variable speed and constant
torque.
j
Also availablefree of chargeis our booklet "Planning a CeramicStudio or an InstitutionalCeramicAds Department."
WRITE TODAY for COMPLETE information
Dept. B
353
CORAL
EL S E G U N D O ,
CIRCLE
CALIF. 90245
AREA CODE 1213) 322-2430 / 772-2557 / 772-25511
4
Ceramics Monthly
M
Volume
23, Number
2
0
N
T
H
February
I. Y
1975
L e t t e r s to the E d i t o r . . . . . . . . . . . . . . . . . . . . . . . . . . .
6
Itinerary ........................................
8
A n s w e r s to Q u e s t i o n s . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
S u g g e s t i o n s f r o m O u r Readers . . . . . . . . . . . . . . . . . . .
14
T y l e r School of A r t of T e m p t e U n i v e r s i t y
b y R o g e r D. B o n h a m . . . . . . . . . . . . . . . . . . . . . . . . . .
16
Clay A t t i t u d e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
A T a l k W i t h Nicholas Wood b y P e n n y S m i t h . . . . . .
21
The A n n A r b o r P o t t e r s Guild by Joyce Macrorie _ _
~'~
Marietta College C r a f t s N a t i o n a l '74 . . . . . . . . . . . . .
30
Ceramic Paintings b y J a n i e Gould . . . . . . . . . . . . . . . .
32
F i r i n g W i t h Diesel Fuel by H o w a r d A x n e r . . . . . . . .
34
Basic T h r o w i n g , P a r t V I I I b y W i l l i a m H u n t . . . . . . .
36
P e n n s y l v a n i a '74 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
Zinc Glazes b y R i c h a r d B e h r e n s . . . . . . . . . . . . . . . . . .
42
CeramActivities
53
.................................
I n d e x to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62
On Our Cover
"Light Gatherers," translucent porcelain by Rudolf Staffel.
The artist is chairman of the ceramics area at Tyler School
of Art of Temple University, the host institution for the
1975 meeting of the National Council on Education for the
Ceramic Arts (NCEGA). The Tyler School of Art is the
subject of a feature article beginning on page 16 of this issue.
Photo: Pennsylvania Historical and Museum Commission.
REACH
0
FOR THE BOTTOM
i
The perfect tool for reaching
the bottom of that vase, jug or
pitcher. Designed to clean in
areas which are otherwise impossible to reach.
This new Kemper tool is constructed from durable hardwood, 13" long and 1/2" in
diameter. Includes threaded
screw for strong attachment of
sponge, for quick easy cleanup. Code Name SPG. Another
innovation by Kemper tools to
better serve our clients in the
pottery and ceramic market.
Remember, never accept a substitute or similar code name,
only Kemper tools makes the
statement, "Tools That Craft
The Hand".
Write for complete catalog, enclosing 50¢ for handling, or
contact your nearest dealer.
Publisher and Acting Editor: SPENCER L. DAWS
Assistant Editors: WZLLZAM C. HUNT
FRANCES SAWYER
Copy Editor: DONNA WOLFINBAROER
Art Director: ROBERT L. CREAOER
Circulation Manager: MARX" RUSHLEY
Advertising Manager: CONNIE BELCHER
Editorial, Advertising, and Circulation O]]ices: 1609 Northwest
Blvd., P.O. Box 4548, Columbus, Ohio 43212. (614)488-8236.
West Coast Advertising Representative: Joseph Mervish Associates, 4-721 Laurel Canyon, Suite
California 91607. (213)877-7556
211, North
Hollywood,
(sponge not included)
Copyright 1975 Pro[essional Publications, Inc.
Ceramics Monthly February 1975. VoI. 23 - - No. 2. Published monthly
except July and A u g u s t by Professional Publications, Inc. - - S. L. Davis,
Pres., P. S. Emery, Sec.; 1609 Northwest Blvd., Columbus, Ohio 43212.
Correspondence concerning subscriptions, renewals, and change of address
should be addressed to the Circulation Department, Ceramics Monthly,
Box 4548, Columbus, Ohio 43212. Second Class postage paid at Athens,
Ohio, U.S.A. Subscriptions: one year $8: Two years $14; Three years
$19. Copyright 1975. All rights reserved.
The articles in each issue of Ceramics Monthly are indexed in the Art
Index and the Readers' Guide to Periodical Literature. Microfilm copies
are available to subscribers from University Microfilms, 300 N. Zesb Rd.,
Ann Arbor, Michigan 48106. Manuscripts and illustrations dealing with
ceramic art activities are welcome and will be considered for publication. A booklet is available without cost to potential authors, describing
procedures for the preparation and submission of a manuscript. Send
manuscripts and correspondence about them to the Editor, Ceramics
Monthly, Box 4548, Columbus, Ohio 43212.
KEMPERMFG.,INC.
P.O.BOX 545, CHINO,CALIF.
17141627-6191
February 1975
5
LETTERS
PASSPORT TO PUBLICITY
In the ten years of my subscription to
CERA.~ICS MO.~THLV, this January issue is
the best I have ever seen. You certainly
have matured from a hobby magazine to a
serious professional one. Not only is your
choice of subjects first rate, the photographs are exquisite as well . . . .
An exception to this, however, is your
cover story: "The Kohler Experiment."
Unfortunately, it coincides with a more
extended version of the same article in the
December issue of Craft Horizons. A large
number of potters subscribe to both maga-
zines and I, as one, feel that there were
too many urinal-sculptures around in two
consequent months. While I found Robert
Arneson's sinks and toilets of the midsixties original and highly personal statements, this obvious repetition of that theme
- - e v e n though a different technique was
used under the banner of cooperation between artists and industry--becomes an
opportunistic clich6. Besides the story of
the location and the not-so-new techniques
used in making the sculpture, the work
should speak for itself. In my opinion it
doesn't, but the seemingly foolproof use of
Meet three of our most
valuable' eople('
Well, maybe "Charlie" isn't a
person, but he's certainly one of
our hardest workers. Both Betty
Mickelsen, our Customer Relations and Marketing director, and Chuck Nelson, w h o conducts
our Kiln Service Schools, need the time-saving
flexibility that our c o m p a n y plane gives them.
Betty realizes the importance of personal
contact with Skutt distributors. W h e n y o u s e e
her at shows, or in y o u r office, y o u can be sure
s h e enjoys t a l k i n g - a n d l i s t e n i n g - t o you.
Chuck is b u s y creating an industry "first".
He's not only "Charlie's" pilot, but traveling
director of our new service schools program,
building a nationwide n e t w o r k of qualified and
certified Skutt Kiln Service Centers.
But even more than valuable "people", these
are three more w a y s we can say " T h a n k You"
and "We Care" to all our valued customers.
Skutt Ceramic Products, Inc.
2618 S.E. Steele Street
Portland, Oregon 97202
shock value has again provided a passport
to publicity in our leading craft magazines
as it so often does. I wonder how much
attention Earl and LaDousa would have
received had they chosen to work in one
of the many factories producing some other
type of industrial ceramics. Daisy Brand
Newton Highlands, Mass.
DERIVATION OF GROG
Could someone tell me the derivation of
the term "grog" as applied to ceramics-how did it come to be used as the term for
crushed high-fired clay? H . C . Robjohns
Marryatville, S. Australia
I f any o/ our readers can answer this question, we would be pleased to hear [rom
them. Please send your replies to: The
Editor, CERAMICS MONTHLY, Box 4548,
Columbus, Ohio 43212
WE NEED COMMUNICATION
I hesitated until now to renew my subscription because I felt too many of your
issues were without sufficient worthwhile
content for the advanced and professional
potter.
I would like to see less of those "How
to Make a Pinch Pot" type articles which
can be found in hobby-oriented books at
any library; more extensive coverage of
shows (why only four or five photos from
a major exhibit of 400 or more pieces?);
more interviews with individual ceramists
(past articles of this Wpe have been quite
good); and more pictures of their recently
produced work--these would make CERAMICS MONTHLY valuable to me.
Your last issue (December 1974) was
commendable. Good strategy, in my case,
since it convinced me to renew. But will
future issues be so interesting and informative ? I hope so, for we in ceramics need
communication; we need to know more
about what is going on in our craft and in
our art.
L. Barth
San Francisco, Calif.
READERS' REMARKS
8451"(
Make up your m i n d - - d o you want to
be a magazine for rinky-dink elementary
school teachers, or a magazine for potters?
Peter Matthews
Long Beach, N.Y.
i
I like your "Dear Dr. Anthony" column
to help nitwits like me.
Dagmar Merna
Duxbury, Mass.
ENDORSEMENT FOR EEHRENS'S GLAZES
Recently I tested some of the Cone 6
glaze recipes from Richard Behrens's article
in the March 1974 issue of CM and was
especially pleased with Glaze XII which I
fired at Cone 7. May I heartily endorse it
for anyone who is looking for a beautiful
matt white. It has become my favorite.
Roger Hartjes
Green Bay, Wis.
Share your thoughts with other C~14 readers--be they quip, query, comment, or advice. All letters must be signed, but names
will be withheld on request. Address: The
Editor, CERAMICS M O N T H L Y , Box 4548,
Columbus, Ohio 43212.
6
Ceramics Monthly
~t ¸¸
£
x~
!i.~}!!: ~ ' ~z
~
~
~
,,~
s
::7i
:;
POWER
The American Wheel was designed by Potters
for Potters. A wheel so fantastically powerful and
sturdy that you can bring your creativity to its
peak and beyond, whether you are a professional
or a beginner. If you are a beginner it's important
to learn on quality equipment. If you are a professional, then this wheel is what you've been
waiting for.
The American Wheel has a 3/4 h.p. permanent
magnet variable speed SCR controlled motor with
foot control that offers infinite speed range from
0-180 R.P.M. with even, stepless acceleration.
We offer a ten day full refund return option if
dissatisfied, providing it is returned in its original
condition. (To be determined by us.)
We offer a full 2 year Unconditional Guarantee.
For more information write or p h o n e . . .
-
G & L I n d u s t r i e s Ltd.
manufacturers of quality Potter's wheels & equipment
P.O. BOX 11892, Fresno, Calif. 93775 - Phone (209) 431-5823
ITINERARY
Send your show announcements earl),:
"Where to Show," three months ahead of
entry date; "Where to Go," at least six
weeks before opening. Direct in/ormation to
Itinerary, CERAMICS MONTHLY, Box 4548,
Columbus, Ohio 43212.
California artists. Jurors: Jack Hopkins
and Tom Fricano. Entry fee; Awards. Entries due April 28-May 2. For information,
write: Diane Divelbess, Chairman, Art
Dept., California State Polytechnic University, Pomona 91768.
WHERE TO SHOW
CALIFORNIA,SAN LUIS OBISPO
April 15-May 2 "Pottery V," sponsored
by the Associated Students Inc. (Fine Arts
Committee) California Polytechnic State
Universiy, is open to all potters in the
United States, including student and profes-
CALIFORNIAj POMONA
May 6-30 Third Annual Ink and Clay
Exhibition, sponsored by the California
State Polytechnic University, is open to all
siGnal categories. Over $1,000 in purchase
awards and prizes. Entries due March 2530. Juror: Sheldon Kaganoff. For information, write: Roger Bailey, Art Dept., California Polytechnic, San Luis Obispo 93401.
ILLINOIS, CHICAGO
June 7-8 The Fifth Annual Lincoln
Square Arts and Crafts Fair International,
co-sponsored by the Swedish Artists of Chicago, is open to all artists and craftsmen.
Jury awards, cash prizes, and medals during
the fair. Entry deadline: April 30. For
information, write: Lincoln Square Art
Fair, c/o Lincoln Square Chamber of Commerce, 4806 North Western Avenue, Chicago 60625.
MARYLAND, FREDERICK
June 4-,3 "Frederick Craft Fair," a
wholesale-retail fair, is open to all craftsmen in the United States. Juried. Application deadline: March 10. For information,
write: Noel Clark, Director, Frederick
Craft Fair, Gapland, Maryland 21736.
.
\ Mayco's
0U
/
,~
~"
•"~'~'--¢F"
mayco
Mayco glazes go on smoother.
And they've been doing it for
years. That's why MAYCO®
COLORS - - America's finest
colors--are the No. 1 choice
of ceramists the country over.
That goes for all Mayco products: Glazes, One Stroke, Underglazes. All Mayco products are
homogenized for easier application and fire at Cone 06. Write
for free color chart.
colors
20800 Dearborn St. Chatsworth, Calif. 91311
Dealerships Available
8
Ceramics M o n t h l y
MINNESOTA, DULUTH
March 30-April 20 Third Biennial Lake
Superior International Craft Show (formerly Biennial Lake Superior Craft Show),
sponsored by Duluth Art Institute in conjunction with University of Minnesota and
University of Wisconsin, Superior, is open
to all craftsmen--foreign entries are encouraged. Juror: Gordon A. Barnes. Write:
Joan Utech, Tweed Museum of Art, 2400
Oakland Avenue, Duluth 55812.
NORTH DAKOTA, VALLEY"CITY
March 10-28 "Ninth Biennial Fine Arts
Exhibition," sponsored by the 2nd Crossing
Gallery of Valley City, is open to all U.S.
residents. Media include crafts. Juror: John
Loree. $1,500 in purchases and prizes; Fee:
$4.00 for 1 or 2 entries. Entry deadline:
February 3. For information, write: Ninth
Biennial, 2nd Crossing Gallery, Box 1319,
Valley City State College, Valley City
58072.
OHIO, COLUMBUS
October S-November 22 "Beaux Arts
Designer/Craftsmen '75" sponsored by
Beaux Arts for the Columbus Gallery of
Fine Arts, is open to craftsmen working/
residing in Illinois, Indiana, Iowa, Minnesota, Missouri, Nebraska, Michigan, North
Dakota, Ohio, South Dakota, and Wisconsin (North Central Region of ACC);
Juried; Awards. Entry fee: $8.00. Slides
due June 16. For information, write:
Vonnie Sanford, Chairman, Columbus Gallery of Fine Arts, 480 E. Broad Street,
Columbus 43215.
ONTARIO, LONDON
December 5, 1975-January 4, 1976 *'Art
in Craft," Fourth Biennial of the Canadian
Guild of Crafts (Ontario)--concept for
which is based on fact that no difference
exists between the artist and the craftsman is open to residents of Ontario
working in any craft media. Entry forms
due March 24. Jury and technical advisers.
Continued on Page 44
OUR R E G U L A R
SPINNING TIGER
OUR NEW
SPINNING TIGER
Has a 1/3 H.P. DC Motor
Sells for $ 1 5 9 . 0 0
Will t h r o w 25 Ibs. of clay
Ideal for hobbyists and
the classroom
• This is the beauty w i t h i n the
budget of practically everyone
•
•
•
•
BOTH
•
•
•
•
•
•
•
o
MODELS
II
• Has a 1/2 H.P. Permanent
Magnet M o t o r
• Sells for $229.00
• Will t h r o w over 60 Ibs. of clay
• Is of special interest to
professionals and advanced
students
HAVE:
A price half that o f its nearest c o m p e t i t o r
Complete p o r t a b i l i t y - weighs 18 Ibs. - utterly rigid
Solid state feedback speed control circuitry - 0 - 200 RPM's
Maintain any desired speed w i t h the f o o t pedal - infinitely variable
12 inch diameter die cast a l u m i n u m wheel head
6 month unconditional guarantee
Optional splash pan - $ 1 3 . 9 5
Optional stand - fits both model~ $ ] 9 . 9 5
Shipped Freight Collect
STUDIO, DEALER
AND SCHOOL
INQUIRIES INVITED
220 VOLT MODELS
AVAILABLE FOR
EUROPEAN MARKET
j
MENCO ENGINEERS, INC.
5520 Crebs Avenue, Dept. CM 275
J Tarzana, California 91356
j Phone: (213) 881-1167
J
(CallfornJa residents add 6% sales ~'ax]
(Resellers send California resale cerflflcafe)
L SendCash. Check. or Money Order
LVase over 5 feet tall made by JIM FOX
Number of
Number of
Number of
Number of
Name
Add ress
City
hp)
wheels w a n t e d ~ ( 1 / 3
; stands
pans
Tiger Rollers
Jigger Arm Assembly Kit
State
(1/2 hp)
Zip
February 1975 9
Answers to
QUESTIONS
Conduct6d by the C M Technical Stall
Where can I find in/ormation concerning the potential hazards o[ materials, other than lead, which are used in ceramic
art ?-----S.A.
Hazards in the Arts is a nonprofit information exchange group
which was formed in April 1974. In part, the aim of the group is
"to collect reference material, a personal experience (with toxic
substances) file, and lists of agencies or organizations to which
artists and craftsmen can go for answers to questions about materials they use." The group has literature available concerning toxic
substances, and can suggest source books. In addition, this organization will accept personal experiences with toxic substances or
specific questions if they are sent on a 5xS-inch card with your
name and address. U.S. postage must be provided if a reply is
desired. Write to: Hazards in the Arts, Gail Barazani, 5340
North Magnolia, Chicago, Illinois 60640.
0
I am having considerable di[[iculty [inding in[ormation about
rice grain porcelain. Any insight you can give on this sub)ect
will be appreciated.--R.W.
Rice grain porcelain is pierced ware in which the cut areas
resemble the shape and size of rice grains. The "grains" usually
are placed in a geometric or decorative pattern, and filled with
translucent glaze. The success of the method depends on the
width of the areas to be spanned with glaze, and the viscosity of
the recipe used to fill the holes. While the most notable examples
are thought to be from China, the Persians imitated the oriental
ware using a soft-paste porcelain-like body, and these pieces are
known as Gombroon ware. One source states that this ware dates
as early as the 12th century, but it is usually associated with the
17th and 18th. Rice grain ware has been made commercially,
especially in Europe, and can be found on the shelves of contemporary gift shops. The rice grain pattern is generally associated
with a glazed, true porcelain body, thrown or cast to be somewhat
translucent overall, but with greater translucency in the perforations.
0
What glaze ingredients require immediate use and prohibit
storage in the wet state?--].C.
There are few materials that necessitate immediate use of the
wet glaze batch, although some ingredients make use difficult
without suitable adjustments. The only truly difficult glaze materials are those in the self-hardening category (plaster or Portland
cement, for example), and their addition to a glaze recipe is
generally rare.
There are other glaze compounds which create problems, but
which do not prohibit storage. Among these are colemanite and
Gerstley borate which have a tendency to flocculate (thicken) on
standing. The flocculation tendency can be balanced by the
addition of soda ash, sodium silicate, or other deflocculant. But
rather than adding deflocculants, many potters mix small batches
and immediately use the recipes before floeculation becomes significant. Rhodes mentions that certain surface clays containing
iron or alkaline compounds cannot be deflocculated. Should the
Continued on Page 12
Create 8. Orom
The creativity inherent in ceramics work is emotionally
cleansing. It is with the belief that our wheels can be an
excellent vehicle for realizing the creative experience
that Creative Industries proudly offers its wheels for sale.
The Ci Medium Power Wheel is powerful enough for
centering up to 35 p o u n d s of clay on its 12-inch diameter
head. It is an excellent choice for 90% of all potters.
Price: $210.00 plus shipping
If you're one of the 10% who needs more power, the Ci Hi
Wheel is for you. Producing lt/i horsepower, this wheel is
than y o u are! A ten (10) belt p o w e r band t r a n s m i t s power
motor to the 14-inch diameter head.
Price: $300.00 plus shipping
Both Ci Wheels feature welded steel construction,
and infinitely variable (stepless) speed control. All
heads have removable pins for bats. A full guarantee
and w a r r a n t y accompanies each wheel.
Options include formica covered bats which are
drilled t o / i t the pins in the heads, and easily
removable splash guards.
This 100 pound pot was far from th
maximum capability of this wheel
,mini
For detailed information write:
C r e a t i v e I n d u s t r i e s , P.O. B o x 343, La M e s a , Ca. 92041
10
Ceramics M o n t h l y
~
CO{SIER A
~
g
J
Most potters would prefer to fire in a downdraft kiln.
There are many reasons why this is so. Downdrafts
use less fuel to reach stoneware temperatures and they
fire more evenly. Reduction atmospheres can be regulated easily and uniformly throughout the chamber.
Before we introduced our 900 series downdrafts, this
type of kiln was priced out of the reach of the backyard potter, small school or studio.
Our model CK 910, pictured above, is a professional
front loading kiln with a stacking space of 12 cubic
feet and sells to. $995.00.
For detailed information on all of our gas kilns which
includes the 900 series, updraft models and kiln kits,
see your local dealer or write us direct.
/~/~1
I
CALIFORNIA KILN COMPANY
1222 South Lyon Street
Santa Ana, CA. 92705
Phone: (714) 836-9009
IMMEDIATE DELIVERY
Jacq.el .
VELVA-GLOOPAQUE& TRANSLUCENTSTAINS
BRUSHON SEALERS& PEARL-ETTES
SPRAY-ETTESEALERS& METALLICS
GOLDWASH & GOLDPEARLSPRAYETTES
LUSTER-ETTEPOWDERS
TEXTUREMATERIALS
BRUSHON CRACKLE
VELVA-GLOBRUSHES
TECHNIQUEBOOKS
New! New!
TRANZTINTS FOR CHINAPAINTEFFECTS
AND ROUGING
&
SPRAY-ETTETRANSLUCENTSFOR
ANTIQUING IN 6 COLORS
J, t-e agt
OPAQUE& TRANSLUCENTWATERBASESTAINS
BRUSHON SEALERS
GLUE
MASK
SYNTHETICVARNETTE-SPRAY& PINTS
BRUSHES- STAINS,LINERS,GLAZE,
SHADERS,DETAIL,UNDERGLAZEtypes
WOOD CRAFTITEMS
SERVICE - LOW PRICES - OUALITY
AND
ALL OTHER GOODTHINGS FOR THE POTTER
Supplies a v a i l a b l e f r o m D i s f r i b u t o r s and Dealers in y o u r
a v a i l a b l e in some a r e a s . F o r
area. Disfribeforships
furfher informafion wrife to:
Write for our latest catalog - $1.00 -- Free to Schools
MINNESOTA CLAY
8001 Grand Ave. So. / Bloomington. Mn. 55420 / 612-884-9101
CERAMIC ART, Inc.
Dept. CM 250
109 Monarch Dr.
Liverpool, N.Y. 13088
February 1975
11
QUESTIONS
Continued [rom Page I0
Gerstley borate or colemanite glaze contain these, another factor
is introduced which may prohibit successful deflocculation. Glazes
which contain organic gum, binders, or plasticizers tend to grow
mold when stored too long, but synthetic substitutes are available
which will not mold. Sometimes heavy substances like flint or
lead will settle to the bottom of the glaze container, and may be
quite difficult to get back into suspension, but this can be achieved
with sufficient mixing. Additions of two per cent bentonite will
help keep glaze particles in suspension, and prevent settling.
Occasionally some compounds will tend to form crystals in the
glaze batch if it remains undisturbed. While this will alter the
contents of the recipe slightly, it is usually not noticeable in the
fired glaze; but crystals should be strained from the batch before use.
Glazes containing soluble compounds (borax, for example) are
sometimes confused with those creating storage problems. The
symptoms are the same--the batch becomes unreliable with use,
but usually the problem is that the glaze is poorly mixed. In that
case, flux is removed with the water of each glaze application,
but the other glaze materials remain with the batch in increasing
proportions.
Do you have a recipe [or the white glaze that crawls in
irregular patterns which the Japanese apply to shino yaki?
--B.C.
Herbert Sanders, in his book The World o/ Japanese Ceramics, gives the following recipe for glaze found on shino yam
'
'
a4m.t-
(shino ware) :
SHINO GLAZE (SEGER CONE 8, 1250°C.)
(Used on a white stoneware body; oxidation)
Fukushima Feldspar . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Limestone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Silica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60%
10
30
100%
The composition of Fukushima feldspar is rather close to that
of nepheline syenite; consequently, an experimental substitution of
American materials and cones might be as follows:
SHINO GLAZE (CONE 9 OXIDATION)
Nepheline Syenite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60%
Whiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
Flint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
30
100%
White shino ware is traditionally fired in oxidation, while gray
shino is fired in a combination oxidation/reduction atmosphere.
9
Since uranium oxide is now available, I would like some
in[ormation on the use o[ this material in glazes, and the
health hazards, i[ any.~F.M.
8 h i m p o
AMERICA
II
CORPORATION
shimpo.west
6411
AVE. LINCOLNWOOD, ILL. 60645
312 • 679 °6765
DISTRIBUTOR FOR NY, VT, ME, CONN, MASS, RI, NH
12
DRAKE
®w h e e l s
Ceramics M o n t h l y
Richard Behrens replies: "Lead glazes with uranium as a colorant, when fired to very low temperatures, will produce a fine
tomato red. Both lead and uranium (including the latter with
the isotope removed) are toxic. But reasonable handling of either
of these compounds can be a safe procedure under conditions of
good studio hygiene and proper glaze formulation. Lemon yellow
may be produced by uranium as a colorant in an alkaline borate
glaze, and uranium produces muted orange glazes up to Cone 9
if all gums are eliminated in the batch and the kiln atmosphere is
strictly oxidized.
"However, I prefer commercial stains for the production of
these colors because they are less expensive and probably more
stable than uranium colorants." For additional information concerning uranium in low firing glazes, see Richard Behrens's article
"Red and Yellow Glazes from Uranium" in the December 1962
CM. Reprints of this article are available at a small charge from
University Microfilms, Inc., Serials Section, 300 N. Zeeb Road,
Ann Arbor, Michigan 48106.
All subscriber inquiries are given individual attention at CM;
and, out o[ the many received, those o/ general interest are
selected [or answer in this column. Direct your inquiries to the
Questions Editor, CERAMICS MONTHLY, Box 4548, Columbus,
Ohio 43212. Please enclose a stamped, sell-addressed envelope.
vin
r0
cer am ics
SUPPLIES
FOR THE
POTTER,
UNIVERSITY,
SCHOOL,
S T U D E N T CATAL¢
6912 SCHAEFERRD,DEARBORN,MI 48126
CERAMICRAFT
GAS KILN
"The Pint Size Brute"
Typical Model TL-E Glaze Load
Write for New BUYER'S GUIDE
~<> "~ o [ ~ E I L M A N
<~OMPANY
6708 San Harolda Way, Buena Park, Ca. 90620 (714) 99S-KILN
February 1975 13
SUGGESTIONS
[rom our readers
A ROUND WEDGING BOARD
A large round table for clay drying or wedging can be made
by pouring a plaster top on a wood spool used for storing heavy
wire or cable. Before pouring the top, add a sheet metal border
to contain the wet piaster, and fill all holes or cracks in the
wood top with clay. A spool may be obtained free, or inexpensively, from a wire or electrical company.
--Peter Chartrand, Bisbee, Ariz.
of the pot, stops the hands from slipping, provides a more secure
grasp, and limits the unwanted distortions that sometimes result
when lifting a pot from the wheeh
--Donald SchneIl, Chicago, Ill.
MORE USES FOR NEWSPAPER
Lightly press a square of newspaper onto the rim of a pot
before removal from the wheel head. This will help prevent warpage when lifting the ware.
--Mabel Hennessey, Moon, Va.
DRY WITH THE PILOT LIGHT
During exceptionally humid weather, I hastened the drying of
greenware by placing the pieces in a home gas oven with only
the pilot light burning. Overnight the greenware was thoroughly
dried and could be fired as usual.
Meridyth Senes, Wynnewood, Pa.
SPAGHETTI-LIKE
DECORATION
Spaghetti-like decoration can be easily made by forcing a ball
of clay through a common kitchen sieve.
--Stere McCue, Tucson, Ariz.
MAKE A CLAY EXTRUDER
An automotive grease gun makes an inexpensive (about $7.00)
clay extruder.
--E. Michael Ferreri, Rosedale, N.Y.
MORE ON FOOT RIMS
Polymer or acrylic emulsion on the foot of a pot will protect
wood surfaces from scratching, and will withstand washing in the
dishwasher with no adverse effects to the coating.
--Katherine Gordon, Schenectady, N.Y.
REMOVING WAX RESIST
When decorating with wax resist, I have found that unwanted
drips or splatters can be removed effectively with a small propane torch. Use the smallest heating tip when burning off intricate areas.
--Bob Taylor, Santa Barbara, Calif.
REMOVING WATER INSIDE SMALL-NECKED FORMS
For removing excess water from inside a pot that has a small
opening, I roll a sponge and insert it through a looped turning
tool; while the wheel is rotating, touch the bottom of the pot
with the sponge.
--Donna DiZoglio, Foster, R.I.
USE FOR MILK CARTONS
Discarded half-pint to gallon-size milk cartons make inexpensive, readily available, and easily disposable containers for pouring, measuring, and storing smaller amounts of glazes and glaze
materials.
--Mary Moss, Denton, Tex.
DOLLARS FOR YOUR IDEAS
REMOVE WHEEL-THROWN POTS WITH NEWSPAPER
CEI*AMICS MONTHLY pays up to $5 for each item used in this
A couple of strips of newspaper will a!d in lifting a freshly
thrown pot from the wheel head. The paper, applied to the sides
column. Send your suggestions to CM, Box 4548, Columbus, OMo
43212. Sorry, but we can't acknowledge or return unused items.
PRO HI-TORC
Designed for schools
and professional
potters. This powerful
welded steel, very
stable wheel provides
extremely high torque
from 2-280 R.P.M. It
maintains constant
speed with loads up to
10 amps. (10 amps =
11/3 HP). 5 years and
satisfaction money
back guarantee $300
plus shipping. Ready
for immediate shipment. Even more
powerful models
available.
Free catalog describes other models
of electric and kickwheels.
Pacifica e, aft
Box 1407, Dept. C., Ferndale, WA. 98248
14
Ceramics M o n t h l y
~ . , ~• ~-~4,
~ o~f~ iii~)i, ~~......
%
~#
,.e_
,~:~,~,~.~
uperam i c s
P.O. Box 8363
Madeira Beach
Florida 33738
(813) 391-3384
Convert your own metal container into an inexpensive, lightweight, portable kiln with our
FIBERFRAX insulation. Building instructions are
free upon request.
Not only is FIBERFRAX thermal shock resistant
and Jrwice as good an insulator as br~ck, it con
now be used to 2600°F. Free literature gives
many applications, such as reducing fuel consumption in existing brick kilns.
Our Super Ceramic Materials:
FIBERFRAX CERAMIC FIBER
WRP MOIST FELTS
SILICON CARBIDE KILN SHELVES
IL i[ILIII|
I
I
q
I
I
I
I have some very interesting information a~out the GEIL DOWNDRAFT KILNS.
think you will find this information to your advantage and most helpful if you are
considering buying a gas kiln. For instance, did you know that it costs less to fire a
downdraft kiln? Remember, a gas kiln is not just a gas kiln - there is a difference. Write
to me and rll explain it all to youl
GEIL KILNS P.O. Box 504., Hermosa Reach, Calif. 90254
(~ ~L'@ a get~Ot'~ a cDo~,d~a~{)Ph.(213)372-8003
February 1975
15
The Tyler School of Art of Temple University
by Roc~a D. BONI-IAM
Photos: Ronnye ]. Perks, Robert M. Winokur
This is another in a series of articles designed to acquaint our readers with some of the schools and universities throughout the country offering programs in the
ceramic arts.
A student re-works clay in a Tyler studio.
16
Ceramics Monthly
You MIGHT SAY that Tyler School of Art is a school
within a school. The parent institution is Temple University, a state-related facility with an enrollment of
approximately 30,000 students, located in downtown
Philadelphia, the fourth largest city in the United States.
Besides being rich in American history, Philadelphia has
a heritage of industrial growth and expanding commerce.
Both Temple University and Tyler School of Art thus
consider themselves urban-directed and with a special
obligation to provide higher education for the underprivileged, including all minority groups.
The Tyler School of Art has its own independent campus in suburban Elkins Park, about eight miles north of
the downtown Temple University center. It is situated
on a 14-acre wooded estate, with the centerpiece being
the handsome old mansion given in 1934 by Mrs. Stella
Elkins Tyler, a wealthy Philadelphian who was also a
sculptor in her own right.
In 1972, the Tyler physical plant was dramatically
enlarged with the completion of two new contemporary
structures--Penrose Hall and Elkins Hall. At a stroke,
studio and classroom space was expanded to 90,000
square feet.
The more than 600 students who annually attend the
Tyler School of Art can choose from academic and professional studio courses including concentration in ce-
/
;/y:
Tyler's campus is located in suburban Elkins Park,
eight miles north o[ Temple University in downtown
Philadelphia.
Students construct a large gas kiln. The arch [orm
and skewbacks are in place. Note the unusual system
[,Jr tying-, a~L~[~"irol~ al~o~e the arch.
ramics and art education. This year 180 students are
enrolled in ceramics and glass. Those taking ceramics may
be working toward a B.F.A. or M.F.A. degree, or taking
courses for a master's degree in education. To expand
opportunities, evening and summer courses are available.
A facility unique to Tyler School of Art is its branch
in Rome, Italy. The handsome building, known as the
Villa Caproni, is located in the heart of the Old City,
facing the Tiber River, just north of the Piazza del
Popolo. Tyler juniors may elect a semester or a year
abroad, and the program is also open to M.F.A. and
M.Ed. students.
At Tyler, ceramics is taught at Elkins Hall, one of the
two new buildings, and classroom facilities are considered
outstanding. Individual and group studio spaces are provided for graduate students, and equipment includes 25
potter's wheels. Firing is done in the four gas kilns, ranging
in size from 20 to 60 cubic feet; a salt kiln; three raku
kilns; and a sawdust kiln. In addition, three glass furnaces
are available, as is a massive industrial pug mill.
Professor Rudolf Staffel, veteran of more than 30 years
at Tyler, is chairman of the ceramics area. Born in San
Antonio, Texas, he received his education in ceramics
and glass at the Chicago Art Institute and the Escuela
Para Maestros, San Juan Teotihaucan, Mexico.
Staffel's work has been exhibited in numerous national,
international, and regional shows. He has been accorded
one-man exhibitions in various parts of the country, with
the latest being a retrospective of his work shown at the
dedication of Tyler's new art facilities. His work is in
many permanent collections.
Robert M. Winokur, associate professor, is a product
February 1975
17
]on Clark, instructor of glass and
ceramics, and one of his sculptures
titled, "'Delaware Valley Span Series
~2,'" glass, platinum, and acrylic.
Clark has shown widely, including
two one-man exhibitions in England,
and has published in several leading
craft periodicals.
Rudolf Staffel, chairman of the
ceramics area, and one of his
translucent porcelain "'light
gatherers," 9 inches in height. Staffel
has been widely shown internationally,
including a recent exhibition at the
Victoria and Albert Museum in
London.
|
i¸
Robert M. Winokur, associate
professor, and one o/his stoneware
pots with pulled handle (salt-glazed
wood ash and slip decoration) 5x15
inches. Winokur, an award winner at
Ceramics International "73 in Calgary,
Alberta, has been involved with
workshops throughout the country.
Far le[t: Students
show o[[ the size
o[ TyIer's huge
de-airing pug mill.
°
Le[t: Mixing glaze in
the ceramics area.
1
,,,4
D"
i~i~? ~
of the Tyler School of Art, having received his B.F.A.
there in 1956. H e obtained his M.F.A. at the New York
State College of Ceramics at Alfred, N e w York, in 1958.
H e has taught at Tyler since 1966, a n d for a two-year
period was acting head of the ceramics area.
Active in several professional organizations , W i n o k u r
was 1972-73 Vice-Presiden t of the National Council on
Education for the C e r a m i c Arts ( N C E C A ) , a n d is prog r a m c h a i r m a n for the annual meeting to be held in
Philadelphia, M a r c h 6-8, 1975.
In addition to his work in education, W i n o k u r also is
a productive potter and exhibitor. His work has been
included in some 50 invitationals across the country, a n d
has been exhibited a n d won prizes in a n u m b e r of
prestigious regional and national shows.
Jon F. Clark, newest m e m b e r of the staff, joined Tyler
in 1973, a n d is an instructor of glass a n d ceramics. Clark
has a B.S. from the University of Wisconsin (1970), and
an M.F.A. from the Royal College of Art, London,
England (1972). H e has h a d one-man shows in this country and in England, a n d has exhibited widely.
Tyler offers students an intimate setting a n d small
enrollment. In fact, it is possible to complete the p r o g r a m
without leaving the Tyler campus. " E a c h student is free
to develop his own thing. Unlike some other art schools,"
says R o b e r t Winokur, "we have no set style p e r se that
the student is expected to follow. Ours is an open prog r a m not conforming to a pre-set aesthetic."
A n d R u d y Staffel adds: "This is not a p r o g r a m for the
person who would like to study art while exploring other
avenues of interest. O n the contrary, in a work-and-lea rn
atmosphere, we try to challenge the artist to develop his
creative abilities with special d e p t h and c o m m i t m e n t . "
i~
~~
The Tyler School of Art of Temple University will host the
1975 meeting of the National Council on Education for the
Ceramic Arts to be held in Philadelphia, March 6-8. The
headquarters hotel will be the Sheraton at 17th Street and
J.F. Kennedy Boulevard in the downtown area.
The general theme of the meeting will be "Two Hundred
Years of Ceramic Art in America." Plans for the program
include: a discussion between West Coast sculptor Peter
Voulkos and Kansas potter Ken Ferguson; a national invitational exhibition of ceramics and glass; and a "suitcase"
exhibition of works brought to the conference by members.
Various technical panels, tours, and local exhibitions are
planned, including a workshop on safety shut-off equipment for kilns.
Additional information concerning the 1975 meeting is
available by writing Robert Winokur, Ceramics Department, Tyler School of Art, Beech and Penrose, Philadelphia, Pennsylvania 19126.
The National Council on Education for the Ceramic
Arts, formed in 1967, is an organization of individuals
whose interests lie primarily with the creative production
of wares in both clay and glass.
February 1975
19
Clay Attitudes
] .
CORNELL COLLEGE held its First Ceramic Invitational
"Clay Attitudes," November 1-23 in the Armstrong
Gallery at Mount Vernon, Iowa. Four Iowa ceramists
showed different approaches to using clay, and their work
illustrated varied ceramic techniques. Douglas Hanson
exhibited large, thrown raku vases and bottles; Chuck
Hindes showed a series of "saggar pots" fired with oil and
rags. In contrast, Bunny McBride displayed a collection
of functional stoneware, including several large plates
glaze fired with an orange or an apple placed on the
surface, producing texture with ash deposits. Art Morrison
exhibited a series of mixed media sculpture which included earthenware hogs with low-fired glazes and lusters.
Right: "'Raku Bottle," 25 inches in height,
by Doug Hanson.
Right, belou,: "Saggar Pot," 15 inches in height,
by Chuck Hindes.
Below: "Teapot" with yellow glaze, Cone 10,
by Bunny McBride.
Bottom: "The Zaspotted Hog," 17x28 inches, Cone 06
with low-[ire lusters, by Art Morrison.
....i~ii!iil¸
20
Ceramics Monthly
sN;~; i
"'Early Morning Spillovcr," low-/irc whitcware, glaze,
underglaze, and sand, 18x24x5 inches.
A Talk with Nicholas Wood
by PENNY SMITH
Photos: Rob Super
Nicholas Wood is a Bay Area artist who is currently a
graduate student in the ceramic department at the San
Francisco State College, San Francisco. Ed.
Smith: I'd like to talk with you about how you relate to
)Tour work and to clay as a medium. First of all, since your
work is in sculpture, do you make a distinction between art
and craft in ceramics?
Wood: Yes, I think that in ceramics there is almost a hangup and in defining yourself you make a distinction. For me,
the art/craft distinction is made by saying, "Is this piece
made strictly for function?" If it is, then it loses a certain
sense of freedom. Art is more of a verbal-visual thing. It
may be making some comment, be it a tongue-in-cheek
statement about the object itself, or it may be purely
sculptural, getting across an image, a fantasy, a message,
etc. Ceramics has just come through that stigma of being
considered strictly a craft. People who make sculpture
out of clay are often called ceramists by the art world and
do not like to be classified as such. When people ask what
I do, I say I am a ceramic sculptor or just a sculptor. I
usually leave out the word ceramic because invariably the
next statement is "Oh, you make pots."
Smith: Did you start by making pots or did )'our work immediately become sculptural?
Wood: I started with traditional ceramic forms and
worked exclusively on the wheel for about a year and
a half.
Smith: W h a t was involved in making a change?
Wood: I wanted to do something new. I use m a n y thrown
parts in my sculpture--but I wanted to go beyond the
process. I guess the influence of seeing shows with nonfunctional, sculptural things had an effect on me. It is so
easy to be influenced by the whole California scene of
funk and pop art. Ceramics in particular has become
February 1975
21
Above: "Surfing U.S.A.,'" low-fire whiteware, glaze, and
sand, 12 inches in diameter.
Above, right: "Throwaway," low-fire whiteware, glaze
and underglaze, lOx12x7 inches.
exceedingly prominent in the past ten to twenty years as a
viable art form.
Smith: W h a t was your work like when you first made the
transition into the non-functional area? W h a t was the
verbal content you added to the medium?
Wood: M y earlier work was political in nature containing
direct environmental messages. After a while, I started to
play down the direct messages and focus more on the
fantasy nature of the scene. I imagine I pulled away from
that kind of direct social statement because I felt that
being subtle was more effective, and the process of making
the sculpture became more important.
Smith: H o w do you happen to arrive at the kind of
imagery and h u m o r you use in most of your work--like
Dream On The Rocks or Early Morning Spillover?
Wood: It has a lot to do with the way I relate to clay.
I think of it as a fun medium and as a result the ideas that
come out of it reflect the kind of whimsy I feel. Most of
the imagery has dealt with water and the ocean. Those
fantasies seem to come out and I try to project them as
clearly as possible. There's also an incongruity in that the
material is so hard and everything I ' m dealing with is
soft: sand-soft; water-soft; trees-soft, making them all in
stone and still going another step further and denying
that stone quality by coloring them and making them
feel the way they really are. I like to make the glaze
look wet.
Smith: Incongruity seems to be an essential part of the
humor of those pieces, especially since so many of your
scenes pour out of cups.
Wood: I like incongruities. T h e cup and saucer is one
reality--we see it every day. And the ocean is another
reality. I like putting them together and then not even
having them work out r i g h t - - t h e ocean spills all over the
table. Being serious and direct often turns people off, so I
approach things on a humorous level. I worked into the
cup and saucer thing mostly because the cup is such a basic
ceramic form and I could stick my fantasy in it.
Smith: I have noticed that you have several pieces that
do not relate directly to surfing or the beach but still have
cups.
Wood: I have a set of cup-versus-rock pieces. If you
took a rock and dropped it on a cup, the cup undoubtedly
would break. But not if it is a soft clay c u p - - w h i c h it is.
Smith: T h a t sounds like the kind of thing that comes
directly out of the medium. Would you say that there
are any other examples in your work that are really medium-specific like that?
Wood: T h e cracked cups came about that way. I was
working on one piece and it cracked in the kiln. The
crack was a very clean break right through the ocean,
with the surfer on one side going off the edge. I ended
up calling the piece Cup by De Fault. It got me into the
idea that cracks are part of ceramics, and I developed a
whole series of cracked cups.
Smith: Seeing several of your sculptures together gives me
22
Ceramics Monthly
Below: "'The Line-up," low-[ire glazed whiteware, sand,
and wood, 32x5x9 inches.
Above: Dream on the Rocks," low-[ire whiteware, glaze
and underglaze, 6x15x6 inches.
ii
V
"
,
~~
February 1975
23
!I¸¸
Nicholas Wood, in his studio at San Francisco State College,
di~( u ~ ~ hi~ zcork with the author.
the idea that the cups contain your feelings, experiences,
fantasies, etc.
W o o d : L a t e r on m y pieces did start to deal with definite
personal experiences. Some of m y work has gotten more
serious in that respect.
Smith: I ' d like to talk about some of your techniques.
W o u l d you say something about how you work and w h a t
materials you use?
W o o d : I work mainly with low-fire clay, although I a m
starting to work with porcelain, which seems to possess a
certain dignity that low-fire clay does not have. M y colors
are underglazes sealed with a clear glaze. T h a t w a y there
is no bleeding together of colors and few chemical changes.
Smith: H o w long does it take to do an average sculpture ?
W o o d : Because of the n a t u r e of clay you have to work
p r e t t y fast. Also there are ideas for other pieces that come
up while I a m working and I want to get to them too. I
prefer to keep m y work on a single piece down to three or
four days at the most.
Smith: Could you explain a bit more about how the pieces
evolve or how you conceive of them?
W o o d : Well, I work in series a n d actually see a whole
idea in m y mind, almost complete with color and everything. D u r i n g sketching it changes somewhat and usually
I start to get ideas tangent to that. O n e series usually
stems from another.
Smith: Seeing your work as a series of progressive changes,
24
Ceramics Monthly
makes me wonder w h e t h e r you relate to this work as p a r t
of your own personal growth.
W o o d : Sure. Often I think of m y work as a form of
therapy, as a time for p u t t i n g things in perspective•
T h r o u g h m a k i n g these things I have learned a lot about
my patience and concentration levels. T h e pieces never
come out quite the w a y you want, and that's good because
it makes you move on.
Smith: W h e r e do you see yourself moving to next?
W o o d : T h a t is p r e t t y h a r d to say. T h e r e is a certain limit
to the m e d i u m itself; the concept of a painting m a y be
extended to include almost anything that is two-dimensional, but ceramic work has to be m a d e of clay. A
m e d i u m or style becomes d e c a d e n t when it gets past the
point of saying a n y t h i n g or having any meaning. M y
imagery is starting to change, and getting a little more
serious again• T h e cups and saucers are disappearing and
I a m doing a piece now that is kind of a tribute to the
end of that. I usually do that when I find myself working
m y w a y out of a certain image . . . a final thing with it
• . . kind of a good-bye.
P E N N Y S M I T H received her M.A. degree in the sociology o[ art [rom the University o[ Sussex, and has taught
at the Stoke-on-Trent College o[ Art, both in England•
The author has been involved with the alternative education movement in Cali[ornia, and is currently a [ree
lance writer.
\
i
Much o/ Nicholas
Wood's work involves the
use o[ molds. He pours,
trims, and removes the
molded [orm [or use in
a larger sculpture.
Wood incorporates the
molded [orm into a
whiteware landscape.
Small handbuilt [orms
are/ired in sand to help
prevent breakage.
February 1975
25
The Ann Arbor Potters Guild
by JoYcE T. MACRORIE
Photos: Penny Barlow, .loyce T. Macrorie
Rain in the summer or snow in the winter--nothing
seems to keep buyers away from the twice-annual
Potters Guild sales.
In 1949, about a dozen people in the Ann Arbor, Michigan area took a class in elementary ceramics taught by
Harvey Littleton, then a graduate student at Cranbrook
Academy. When the course ended, the enthusiasm for
ceramics had reached new heights. Several class members
borrowed makeshift quarters from an interested couple
who also donated materials. They talked Littleton into
teaching again, and set up classes for other groups. Involvement grew as materials and space gave out. "The
Studio Group," as they called themselves, nearly collapsed,
but four or five determined women managed to keep it
going.
They asked for, and received, $350 from the Ann Arbor
Art Association to supplement a $100 anonymous gift and
the $150 they raised among themselves. With these funds,
they built wheels, scrounging among friends for know-how
and among local businesses for flywheels and gears; they
bought clay and basic glaze materials and built a small
kiln. To cover operating expenses, they assessed themselves
each $100 a year (payable at $10 per month with summers
free). An old bakery at the corner of intersecting downtown alleys was rented, and the Ann Arbor Potters Guild
was born.
Students came, members worked around and in between
classes and each other. That it was crowded didn't matter.
But as work patterns began to show themselves, so did a
problem too big to be ignored: the bulk of the maintenance, supply ordering and kiln responsibilities were falling
ii
~ii
on the shoulders of a few individuals. Hard feelngs developed, and several ),ears passed before a solution materialized. In a prominent place under the studio bulletin
board there is a large double-entry ledger--the kind with
heavy spindles that allow pages to be added. Each person
keeps his own double page. The left side lists cubic-inch
measurements of ware to be bisque and glaze fired; the
right side is a running tally of cubic inches earned by doing
chores. Semi-skilled labor such as loading and unloading
kilns earns 600 cubic inches an hour; clay mixing, the
same. Each Guild officer earns kiln space for attending to
the jobs involved in serving a term. Weekend floor, wheel,
and rest room cleaning chores rotate as a required duty
for each member with low cubic-inch credit. The system
is kept flexible so that uninteresting jobs will still be done.
Cleaning up the front yard, for example, is currently worth
550 cubic inches an hour.
Almost as soon as they were established in permanent
quarters, the Guild members realized they would have to
limit membership because of space. But classes were kept
going from the very beginning in accordance with their
commitment to include the community. Classes, numbering twelve to fourteen students, are offered in two 18-week
sections, twice annually. Students pay $100 per semester
for materials, 13,000 cubic inches of kiln space, and special
workshops. Income from the classes is used for materials,
firing costs, teachers' salaries, and visiting instructors'
workshop fees.
Students are free to use the studio whenever a Guild
member is working and as long as another class is not in
session. Enrollment is limited to four consecutive semesters.
If at the end of that time there has been no invitation to
join the Guild, they go to the bottom of the waiting list to
become students again. Nomination for membership is as
much on the basis of good-humor and cooperation as on
the quality of ceramic work; in a co-op, everyone has to
get along fairly well or things fall apart.
Currently, Guild membership is limited to forty people
who each pay $140 per year (up from the original $100
because of increasing costs over the 25-year period), plus
ten per cent commission on sales. In exchange, they get
studio space, use of all equipment, paid-up materials, and
credit for 60,000 cubic inches of firing space. When the
Guild started, it needed money for everything, so each
participant was assessed a fifty per cent commission on
sales in addition to the yearly membership charge. Now
the commission is no more than ten per cent to maintain
the Guild's non-profit status. A professional bookkeeper is
employed to keep the financial records straight and assure
compliance with state regulations. Financial advisors and
bookkeepers have been good investments. One opinion
early in the group's development suggested allowing for a
twenty per cent annual depreciation on all major equipment, "and sure enough, at the end of five years everything
needed replacing."
Guild members of long tenure concur that several other
i
i"
~i~Ii
John Glick (le/t) and Bob Black (right)
visit the Guild to share their skills with
Dlembers,
Right: A young shopper checks prices at
the area planned especially [or
youngsters--a generous service and a
way o[ creating children's interest in pots.
Far right: Porcelain slab construction,
white satin glaze with black accent, 35
inches in height, by Barbara Stevens.
J
/
February 1975
27
small but basic points saved the co-op from extinction. In
the beginning, one dedicated member gave up her own
potting for over a year and devoted full time to getting the
co-op going. No changes were made except for absolute
necessities. (They stayed in freezing, crowded quarters for
almost fifteen years before moving into the present sunny,
spacious factory at 201 Hill Street.) Outdoor raku facilities
have been put off until this year. Purchases were made out
of dues and tuition. Sponsorship or other conditions favoring outside control were avoided. Remembering the original $350 donation from the Ann Arbor Art Association,
the Guild recently donated $500 to that group's building
fund.
The Guild has always stressed excellence in their teaching staff. Among the long list of former teachers, are:
Wayne Higby, J. T. Abernathy, Susan and John Stephenson, Marie Woo, and Patti Bauer. Over the years, visiting
workshop instructors have included Bernard Leach and
Shoji Hamada. American potters with specialties or superior skills come to share technical news--John Glick and
Don Reitz are recent examples. If someone in the Guild
wants to know how to use lusters and decals, the membership researches and finds someone whose work they admire. An invitation is extended--the expert comes in.
Potters Guild by-laws call for the usual board officers--
i¸
......"
i!i
president, vice-president, secretary and treasurer--plus
three specialty officers with duties unique to the organization. The director, for example, has more responsibility
than the president whose main jobs are to coordinate
meetings and act as public relations liaison with the
community. The director oversees the physical operations
of the Guild, arranging for equipment repairs and cleanup jobs, as well as appointing and supervising a supply
person to keep materials on hand. The director's job is
largely thankless, requiring shop-wide tact and alertness.
The kiln director supervises the firing operations and the
training of kiln workers. The registrar acts as liaison between teachers, students, and the board, enrolls students,
collects tuition, and hires teachers with the approval of
the board. Significantly, the Guild fosters an atmosphere
in which these jobs are actively sought.
Since the inception of the co-operative twenty-five years
ago, the Guild has maintained and constantly renewed a
dozen kick and electric wheels. It now owns two gas kilns
(total capacity 150 cubic feet), and two dough mixers
capable of churning hundreds of pounds of clay. The glaze
files include recipes obtained from individual potters and
institutions across the world, and the shop keeps the necessary materials in stock for making each recipe. The
factory building, bought in the late 50's, has been ex-
.... /
j m
!
Above: Slab stoneware relic/sculpture, 12 inches
in height, by Marian Titus.
Right: Guild members" work re/lects a
variety o/styles.
Opposite page: Guild member trims a large bowl.
28
Ceramics Monthly
panded twice. Present plans call for additional remodeling
to provide more clay-working room. Each member has
several feet of storage rack space. Upstairs, a members'
lounge bulges with reference books, the group's collection
of modern and ancient pots, and all of the display materials for the outdoor sales. "We always need space. No
place ever stays big enough."
The Guild members believe they organized when Ann
Arbor was developing an interest in functional ceramic
ware. At the first sale (1955), their bakery-off-the-alley
quarters were crowded beyond endurance. Money was
needed to move. The sale was nervously set up one Sunday
morning in their double alley. "We each put out two or
three pieces--our best pots." Within twenty minutes they
had to bring all the ware from the shop and in two or three
hours all was sold. Since then, the Guild has expanded
to bi-annual sales in June and December. From 9:00 A.M.
until 3:00 P.M., in whatever weather Michigan can work
up for the event, people buy everything. Many customers
come from surrounding states and Canada. To facilitate
traffic, shopping baskets are furnished and rows of bagging
lanes with cash boxes are provided.
The Ann Arbor Potters Guild continues to develop
through craftsmanship and its educational work in the
community.
II o U e qP e q • qJ • O • qlA• I • IP ~ g o
Le[t: Bisqueware is
unloaded [rom a
50-cubic-loot kiln.
Right: The Guild's
glaze area.
Left: A
Guild member cleans
dust [rom
a large
bowl be[ore
decorating
and
glazing.
II • U t
eQeSeSQ
February 1975
29
Marietta College
Crafts National '74
io
aretta
olege
rats
,4
ationa4
was featured in November at Marietta College, Marietta,
Ohio. In 1972 and 1973, the exhibit was regional in
scope; in 1974 the event was expanded to include
the creative efforts of artists, craftsmen, and designers
throughout the United States. More than 1,500 entries
were received from 42 states from a total of 418 artists.
Jurors Astra Kleinhofs-Strobel, Charles Lakofsky, and
Richard Stankiewicz selected 148 pieces for exhibition,
and awards in the amount of $3,500 were given. Artists
selected for Judges Awards in ceramics were Georgette
Zirbes, Ann Arbor, Michigan, and David Furman, Claremont, California. In the glass category Steven Fuller,
Seattle, Washington, and Sally Kovach, Bowling Green,
Ohio, were selected.
In the Director's Statement, Arthur Howard Winer,
i
says in part: ". . . . .
There are two basic problems ini
herent in a slide-juried exhibition. First, slides may not
accurately reflect the work; and, second, artists may not
record work submitted to simultaneous exhibitions . . . . . . .
and the number of artists failing to submit work after it
i ~ . ~ .... ....
-~has been accepted in the slide jurying is a growing prob:~i~,~. , ~ . . . .
lem, and ultimately a threat to slide-juried exhibitions. We
%:->~>
~)~ ~
can only hope this trend does not grow, for if it does, it
.
~ ....
" ~:!~*~~"~",,~i'~' "~
will in the final analysis be the artist who will suffer."
~ >,
"
"'Shrink of the American Sunset Trip," 56 inches
in height, ceramics and fiber, by Georgette
Zirbes, Michigan. Judges Award.
"Fruit Pit," ceramic, by Sally Roberts.
30
Ceramics Monthly
f
/"
"Assemblage 1 and 2,'" 16 inches in height,
by Chris SiIliman, Virginia.
"'Deja-Vu," 13 inches in height, ceramic,
by lamer C,. Ct~ancy, Ohio.
Above: Covered jar,
11 inches in height,
porcelain, by Rex Fogt,
Michigan.
Opposite page:
"Visual Series Platter,"
I1 inches in diameter,
salt-glazed stoneware, by
Dale Raddatz, Illinois.
February 1975
31
Ceramic Paintings
by JANIE GOULD
DAVID TELL is a 30-year-old ceramic artist and teacher
whose primary interest is raku his work in painting and
drawing is not as well known. Recently he has found a
method for incorporating his ceramic and graphic interests, and is perfecting a process that produces slab
paintings--with colorful blends of underglazed surfaces on
glaze-fired clay.
The process is not complicated, but there are a few
tricks. For one thing, Tell adds an excessive amount of
grog to the clay to help prevent warping as the piece
dries. The clay body he uses is based on the following
proportions :
Warp Resistant Clay Body (Cone 04)
Fireclay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20%
Ball Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
Sand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
Grog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
100%
Tell's forms are made with a slab rolling machine; the
j
32
Ceramics Monthly
clay is then dried until leather hard. He next applies one
coat of white slip using a spray gun in steady circular
motions. When the slip has dried, underglaze is applied
and incised decoration is added.
"The problem here is knowing how the shades will
change when the piece is fired," he says. "Most of them
intensify, but a few colors change entirely. So it can be
difficult to gauge the end result." Three coats of underglaze are needed to achieve the desired intensity; otherwise, a washed-out look may result.
Tell likes to blend fluid images with hard-edge lines,
achieved with the help of masking tape; underglaze is
applied with brush or fingers. He shies away from discussing style. "What I am trying to do is play the ideas
and the paintings against each other," he says. "But it gets
a little difficult when you apply three coats and want to
make it look spontaneous."
Large paintings may be cut in sections to facilitate
firing, then reassembled on a sturdy backing or wall surface. When dry, they are bisque-fired to Cone 08. One
coat of clear glaze, fired to Cone 04, seals the underglaze
colors.
A graduate of Alfred University, Tell spent six years
developing the ceramics program at Florida Atlantic University, Boca Raton, then moved on in the summer of
1974 to teach at the University of Illinois, Normal.
r ~
1. Masking tape is applied to a leather-hard
slab to create hard edge underglaze areas.
2. Three coats o[ underglaze are applied
to maintain color intensity.
3. Spontaneous brush work is more di[[icult when
three coats are needed.
4. Incising relines the decorative pattern.
Opposite page:
The [inished ceramic painting with black,
white, green, yellow, and blue underglazes.
February 1975
33
Firing With Diesel Fuel
by HOWARD AXNER
Two diesel burners powered by a used blower are sufficient to
fire this 30-cubic-foot kiln in rural northern California.
~¢VHEN WE WERE FIRST thinking about designs for our
kiln a few years ago, propane seemed to be our obvious
source of heat. Natural gas was out of the question because
the nearest pipeline was miles away. Although the studio,
here in the mountains of northern California, is surrounded by many acres of forest, the primary wood is soft
and probably would not adequately fire a large woodburning kiln. We had heard diesel fuel was a dirty and
dangerous heat source (which we later found to be largely
untrue), and therefore eliminated it as a possibility; thus,
propane was chosen. Having acquired a formidable pile
of used, mortar-caked, hard firebricks we began construction of our kiln. Just a short one-and-a-half years
later a 30-cubic-foot, downdraft, sprung arch kiln was
ready to go.
T h e two local propane dealers refused to drive up our
long mountain dirt road with their trucks to service a
large tank, so we agreed to haul the propane in four 25gallon cylinders with our pickup truck. But the liquid
propane froze before we even reached a bisque temperature. This, we learned, is unavoidable with larger burners
and kilns, unless at least a 250-gallon propane tank is
installed. We obviously needed the help of diesel fuel, and
started to read and make inquiries about its use.
T h e system that was finally assembled consists of two
34
Ceramics Monthly
burners, each of which is constructed of pieces of twoinch pipe, one and one-half feet long. Two burners are
all that are necessary even for a much larger kiln because
diesel fuel becomes very hot and burns with long, even
flames. A hose is attached to one end of each burner and
leads to a heavy-duty forced air blower with paddle-wheel
style blades for sufficient air pressure. These can be expensive when purchased new, but we found a used one
for $25 with a motor that was large enough to feed air
to both burners. (The blowers in most old vacuum cleaners
work well but you would probably need one for each
burner, and they may tend to burn out relatively soon.)
Near one end of the burner, where the hose is attached,
a 2-inch piece of rod is welded to the burner at a perpendicular angle. T h e n a 2-foot piece of ~ - i n c h pipe is
welded to the top of this rod and onto the opposite end
of the burner, so that it overhangs the front of the burner
about one-half inch. The diesel fuel drips out of the
~ - i n c h pipe in front of the burner, where the forced air
atomizes it somewhat and blows it into the kiln. A needle
valve is attached to one end of the %-inch pipe in order
to allow a very accurate control of fuel flow. Plastic hose
(diesel will quickly deteriorate rubber or neoprene hose)
is attached to the needle valve and leads to a raised, 55gallon oil drum which gravity-feeds the system at a safe
distance from the kiln. The air flow is controlled by two,
2-inch gate valves that are located between the blower and
the burners.
Originally, we built the kiln to fire exclusively with
propane, and therefore had two burner ports on either
side of the kiln where the propane flames fired into the
bag wails. These ports are unsuitable for diesel burners,
however, because the long diesel flames require a greater
distance to burn properly. So two new burner ports were
knocked out of the front of the kiln, on either side of the
door, so flames will travel parallel to the bag walls and
the sides of the kiln.
A target brick is placed in each of these fireboxes about
one and one-half feet from the port. We still begin to
heat up the kiln with propane to somewhere around
800°F, and this slower use of propane doesn't freeze our
tanks. Then we open the front ports, introduce the diesel,
shut off and remove the propane burners, and close the
side ports. The target bricks are red-hot at this time
(being right next to the propane burners) even though
the rest of the kiln is still dark. The partially atomized
diesel fuel hits the hot target bricks and is ignited. Because the kiln is sufficiently hot, the fuel burns clean and
smoke-free from the start; the flames continue to get
whiter and stronger as the temperature increases.
There are some disadvantages to firing with diesel oil.
For instance, it is dirtier than other fuel sources, but not
overpoweringly so. If you live in a residential area,
the smoke produced during a heavy reduction might distress some neighbors, but reduction can be kept light.
There are hazards to firing with diesel oil if simple precautions are not taken. One common problem occurs
during an electrical or blower failure, when raw fuel without sufficient oxygen or disbursement for ignition may
drip from the burner and accumulate. This problem may
be avoided with regular kiln observations and/or the installation of a solenoid valve which would shut off the oil
when electrical power is interrupted.
There are important advantages when firing with
diesel fuel. Among them are ease of control, and great
heat production potential. The latter makes it easy to
quickly raise temperature in the kiln when required. Diesel
fuel can be transported to places where other fuels cannot.
The lower cost of diesel fuel can be decreased further by
collecting used crankcase oil from gas stations, cutting it
with kerosene, filtering it, and using it in lieu of the regular diesel fuel.
As in all other aspects of pottery, the possibilities are
many; but the important thing is that this system works
z~d is particularly advantageous in a rural situation.
ii~i! i iiiii~i!~ !il !fill ii~i ¸ !i ~ ~ i~i
i
:
•. . . . .
.....
A diesel-fired, reduced stoneware [orm with oxide
decoration.
A simple, efficient burner design [or diesel fuel. Plastic
hose is used for transmitting fuel, because rubber or
neoprene will quickly deteriorate.
H O W A R D A X N E R is currently
teaching at the Maitland Art
Center in 3Iaitland, Florida. In
March, the author plans to return
to Calistoga, California, where he
is a partner in the Diamond Sutra
Pottery.
February 1975
35
Basic Throwing
PART VIII
by WILLIAM HUNT
Photos: Beth Toth
Drawing: Ieanne Otis
This is the last in a series of eight articles about basic
throwing on the potter's wheel. Previous articles appeared
consecutively beginning with the May 1974 issue.--Ed.
W H E N A SUCCESSFUL FORM IS PULLED, it is completed
with refinements of the lip (also called the rim), and
removal from the wheel head. During both of these activities, speed of rotation varies according to the stability of
each shape thrown--greater stability allows faster rotation. While the potter's style or preference plays an important role in these finishing techniques, it is generally
true that vertical ware such as the mug may be refined at the rim with the same wheel speed used for
pulling. Horizontal ware such as the bowl will require a
considerably slower speed. Fifty rpm is a starting point
from which to experiment with one's own speed for slow
rim refinement.
If the clay is to be stressed to the limit of its supportive
ability, it will usually be necessary to refine the rim before
the final shape is complete.
Two of the many methods of compressing and forming
the rim are shown, and with practice it will be evident
that the finger configuration will largely determine the
shape of the lip. In addition to compression, the rim may
also be folded inward or outward to thicken a lip which
has become too thin. Care should be exercised that air or
soft clay is not trapped in the fold. Should a cavity be
formed, perhaps the most efficient solution is to remove
the offending area with a needle (as shown in Part V I I
of this article series). The folded rim may prove to be
more easily collared than one which is thin or overworked. It is possible to repeatedly fold the rim until the
pot becomes an opened hump a g a i n - - a good exercise in
folding.
Once the shape of the rim is defined, it is finished with
a wet chamois (the most usual method), a piece of soft
leather, a wet sponge, a strip of folded wet paper towel,
or sometimes with a lubricated finger. The finishing action
36
Ceramics Monthly
leaves a smooth clay surface and may also make subtle
adjustments in lip thickness and shape. Uniform lubrication is important for maintaining a centered rim during
finishing.
When the potter is satisfied with the completed shape,
it should next be cut from the wheel head or hump. This
action can be practiced on sections of a centered hump to
learn fundamental techniques, but successful cutting and
removal can, in the final analysis, be learned only
through use of completed forms. Throwing all ware on
bats will temporarily avoid the problem, but the potter
eventually must learn to lift ware from the wheel head
or hump to develop full use of throwing skills.
Most potters undercut the outside bottom of the wall
before slicing below the base. The undercut provides a
ledge which facilitates lifting the form and may also serve
to complete the base if no foot rim is desired. A knife-like,
lubricated, wood tool is slowly guided into the rotating
clay, beginning at a point which corresponds to the inside
bottom of the pot. With practice, the potter will be able
to determine the proper point of entry for undercutting
by simultaneously sighting the inside bottom and the
point of the wood tool. Line up the two on a horizontal
plane, using simple depth perception, then allow the point
of the tool to make gentle contact with the wall, cutting
a shallow incised ring around the outside base. Use the
ring as a guide for starting the undercut.
The cut is made at a 45 ° angle, with the blade of the
tool facing away from the potter. Care should be taken
that the tool remains in its original groove rather than
cutting a number of incisions; holding the tool with two
hands will help to steady it. When a depth sufficient for
a flat base or foot rim has been reached, the blade of the
wood tool is twisted downward in a clockwise direction.
The point of the blade is the fulcrum for this action, and
the edge of the blade forces the ring of excess clay away
from the ware, flattening it against the wheel head or
hump. Some potters do not flatten the clay, but rather
they leave the ring as scrap to be removed after the wire
has cut beneath it.
To cut the form from the wheel head, a tightly stretched
wire (string or fishing line may also be used) is passed
under the ware at the bottom of the undercut. Production
techniques usually require that this action be performed
while the wheel rotates, but it may be easier for the
beginner if the wheel is stopped. In another version of the
cutting technique, string is laid against the bottom of the
undercut while the form slowly rotates. When it encircles
the pot, the string is pulled and the wheel's rotation helps
cut the ware free. Regardless of the method employed,
all cutting motions should be strictly horizontal to avoid
a foot which is thick on one side and thin on the other.
If the wire accidentally cuts a hole through the base, it
1, 2. Two methods o[ refining the rim shape with the
fingers. Finger configuration will largely determine the
final rim shape when these or other methods are used.
3,4. The rim is folded outward to thicken it.
5,6. Cutaway views of finishing the lip with a chamois
(left) or an elephant ear sponge (right).
~ .....
:......
.
February
1975
37
7,8
9,10
7. Undercutting. Both hands guide the lubricated wood
tool as it cuts at a 45-degree angle into the clay below
the ware. The blade of the tool [aces in the direction
of wheel rotation.
9. Ware is cut from the wheel head by passing a tightly
stretched wire, string, or fishing line beneath the
form at the base of the undercut.
i~ possible to force the cut together again with throwing
pressure on the inside bottom of the form. Then another
lower cut can be made with the wire if there is sufficient
clay for a base below the form.
Completed shapes are removed after successful cutting.
The potter may use the fingers (as illustrated), manufactured or homemade pot lifters, or, if the shape has been
dryly thrown, the flat of the hands may be used as if
warming them on a coffee mug. Horizontal or unstable
forms which are thrown on bats are cut and left to become firm before removal. Stable, small or medium-sized
forms may with practice be cut and lifted as the wheel
turns, otherwise, a gentle twist frees the form from the
stationary wheel head or hump.
When the form has been lifted to a ware board for
drying, any warpage may be straightened by exerting
pressure at the base of the elongated axis. This will force
38
Ceramics Monthly
8. With the point of the tool as a fuh:rum, the clay is
spread downward with a clockwise rotation of the blade.
10. Ware is usually lifted from the hump or wheel head
with the fingers, then placed on a ware board. Warpage
which results from lifting may be corrected by exerting
pressure at the base of the elongated axis.
the walls and rim back to the original circular shape.
Through the methods presented in this article series,
the beginning potter can develop the basics of an individual throwing style. Progress may be hastened by studying examples of historical and contemporary ware, reviewing audio-visual aids, and observing potters at work.
W I L L I A M H U N T is a studio
potter and assistant editor of CERAMICS MONTHLY. He holds an
M.F.A. degree in ceramic art
from The Ohio State University.
The author enjoys giving workshops and jurying exhibitions, in
addition to producing functional
and sculptural ceramics at his
studio near Columbus, Ohio.
Pennsylvania '74
Photos: Pennsylvania Historical and Museum Commission
STATEM, TIDE CRAFTS EXHIBITION, "Pennsylvania '74,"
opened on October 12 at the William Penn Memorial
Museum in Harrisburg, and ran through December 1.
Approximately 500 Pennsylvania craftsmen entered works
in the competition; jury members Val Cushing, Fred
Fenster, and Paul Smith selected more than 200 pieces by
139 craftsmen, and awarded prizes totaling $2,000. Award
winners in ceramics included Ron Gallas, Susan and
Steven Kemenyffy, Ken Vavrek, Paula Winokur, and
Ron Lang. Warren Hullow and Jack Troy received purchase awards.
Supported by funds from the National Endowment for
the Arts, the competition was sponsored by the Pennsylvania Historical and Museum Commission, Council of the
Arts, and Department of Education in cooperation with
the Pennsylvania Guild of Craftsmen. Selected work will
tour the state for 18 months.
A
Val CushiTzg evaluates ceramics in preliminary ~urying.
"22-33 Water Shed," ceramic whiteware, by Ron Gallas.
J
"''4
r
I
~
.
~
.
•
~
, d ¢ ~
¸
Above: "'Only Island z~l," raku, by Ken Vavrek.
Opposite page, below:
"'Angel Baby, Dream Box," porcelain, by Paula Winokur.
Below: "Double Landscape," raku, by Steven and
Susan Kemeny[[y.
Below: "'Sea[otto II,'" stoneware, by Warren Hullow.
<[-•
• ;i '~~
40
Ceramics Monthly
~
"'Trophies," glass and [ur, by Jan Zandhuis.
"Salt Glaze Bottle," stoneware, by Jack Troy.
9
7~
the molecular metal units of a glaze
is represented by zinc compounds.
The experimental potter may find
in the following formulary some glazes
which will suit his ware.
Zinc Glazes
by RICHARD BEHRENS
GLAZE I (Cone 08)
A clear glaze
Zinc Oxide . . . . . . . . . . . . . . .
Frit 25 (Pemco) . . . . . . . . . .
Lithium Carbonate . . . . . . . .
Kaolin . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . .
18.6%
51.1
5.1
5.9
19.3
100.0%
GLAZE II (Cone 08-01)
Matt at Cone 08, satin mall at Cone 01
A s WITH
MANY"
GLAZE MATERIALS u s e d
throughout history, zinc may be found
in ancient glazes where it was introduced incidentally in unrefined materials, or purposely to obtain some of
its advantages in the glaze. Its use as
a flux and as a glaze modifier seems
to have gained much impetus in the
potting establishments of Bristol, England, and in the Rookwood Pottery
in the United States. In the latter part
of the 19th century, Karl Langenbeck,
superintendent of Rookwood Pottery,
published a text, The Chemistry o/
Pottery, in which he spoke of the zincfluxed glaze as a recent development
for use with cream or yellow bodies;
and American stoneware with this
type glaze was exhibited at the New
Orleans Exposition in 1884.
Zinc glazes fired in the Cone 4-7
range are well adapted to the potter's
needs. Such glazes contain a major
content of zinc and usually one or
more of the alkaline metals--sodium,
potassium, or lithium--as well as one
or more of the alkaline earth metals-calcium, barium, strontium, or magnesium.
At the higher stoneware levels of
firing, the volatility of zinc oxide
makes the material less satisfactory as
a major flux. As an auxiliary flux
used to facilitate a smooth fusion
transition from the sintered into the
fully fused glaze, zinc has proved its
value.
Zinc may serve as a flux in glazes
firing as low as Cone 1, and it is
sometimes used in glazes firing well
below that point to contribute favor..
able qualities such as lower crazing,
increased hardness, and resistance to
abrasion and chemical attack.
W h e n powerful fluxes like the alka42
Ceramics Monthly
line metals or boron are used with
zinc, glazes of considerably lower
maturing points are produced. The
zinc is also active in increasing glaze
viscosity during the molten stage, and
this tends to retard glaze fluidity during firing. (Glazes containing considerable zinc may obscure fine detail
on ware.) T h e potter often utilizes
zinc oxide as an opaquing and matting
agent of superior quality, although
clear glazes are also obtainable from a
well-fluxed batch.
Zinc glazes are often conditioned
by the addition of considerable clay
to render them well adapted for use
on greenware. Both body and glaze
may then be matured in a single
firing.
W h e n uncalcined zinc oxide is
used in a glaze, faulting (particularly
crawling) may result. The potter is
well advised to calcine zinc oxide by
heating it in a bisque-fired bowl
during a low-temperature firing. T h e
cooled material should then be sieved
through a 100-mesh or finer screen
before subsequent use.
Glazes containing a major portion
of zinc may exhibit considerable color
variations when combined with different oxides or stains. Some colors
may be dulled, while others are often
lightened or quite radically changed.
Cobalt blues may be lightened in a
zinc glaze; two per cent additions of
nickel oxide may produce an icy blue
color. Green chromium oxide in small
amounts may impart a green hue to
a zinc glaze, while larger additions
may yield shades of brown. Opalescence in glazes with a high boron
content may be promoted by the
presence of zinc. Satin matts are often
obtained if an excess of one third of
Zinc Oxide . . . . . . . . . . . . . . .
Barium Carbonate . . . . . . . . .
Lithium Carbonate . . . . . . . . .
Kaolin . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . .
13.3%
36.8
8.8
14.5
26.6
100.0%
GLAZE III (Cone 08-1)
A satin maff glaze at Cone 08, mall at Cone
04, and ~translucent at Cone I
Zinc Oxide . . . . . . . . . . . . . . .
Nepheline Syenite . . . . . . . . . .
Barium Carbonate . . . . . . . . .
Lithium Carbonate . . . . . . . .
Whiting . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . .
A d d : Bentonite . . . . . . . . . . .
8.6%
41.7
17.0
2.0
10.5
20.2
100.0%
1.0%
GLAZE IV (Cone 1-91
A matt glaze at Cone I, translucent between
Cone 4-6, bright and clear at Cone 9
Zinc Oxide . . . . . . . . . . . . . . .
Potash Feldspar . . . . . . . . . . . .
Whiting . . . . . . . . . . . . . . . . . .
Kaolin . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . .
6.5%
59.6
8.0
13.8
12.1
100.0%
GLAZE V (Cone 1-9)
An o~aque mail glaze at Cone I, translucent
between Cone 6-9
Zinc Oxide . . . . . . . . . . . . . . .
Potash Feldspar . . . . . . . . . . . .
Whiting . . . . . . . . . . . . . . . . . .
Kaolin . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . .
8.4%
57.3
7.3
15.2
11.8
100.0%
GLAZE Vl (Cone 01-91
A bright matt glaze at Cone 0l, translucent
at Cone 4-6, and transparent at Cone 9
Zinc Oxide . . . . . . . . . . . . . . . .
Potash Feldspar . . . . . . . . . . . .
Whiting . . . . . . . . . . . . . . . . . .
Kaolin . . . . . . . . . . . . . . . . . . .
Flint . . . . . . . . . . . . . . . . . . . . .
9.7%
50.1
9.0
17.8
13.4
100.0%
GLAZE VII (Cone 1-4)
A marked matt glaze at Cone l, satin matt
at Cone 4.
22.0%
Zinc Oxide ...............
10.0
Lithium Carbonate ........
7.4
Titanium Dioxide ..........
4.6
Whiting ..................
17.7
Kaolin ..................
38.3
Flint .....................
I00.0%
Lightweight; 12 1~
wares making your
pottery easily
Constructed of a
6.5%
22.1
50.4
7.6
4.7
8.7
100.0%
GLAZE IX (Cone 1-41
A satin matt 91aze
Zinc Oxide ...............
Potash Feldspar ...........
Wollastonite ...............
Whiting ..................
Kaolin ...................
portable for every
accessible.
GLAZE VIII (Cone 4-9)
A satin maff 91aze
Zinc Oxide ...............
Barium Carbonate .........
Potash Feldspar ............
Whiting ..................
Kaolin ...................
Flint .....................
A Raku kiln conve
steel shell with higl
refractory insulati¢
Diameter 18". Heir
22". Fires up to 22
F. using propane. F
includes flexhose, t
and valve, Raku ins
10.2%
47.2
13.9
10.6
18.1
100.0%
ions, tax and shippi
Delivery within twq
Peach Valley Farm Pottery
Route I Box 101 New Castle, Colo. 81647_
~al
(303)984-2246
GLAZE X (Cone 4-91
Maff at Cone 4, translucent at Cone 9
9.7%
Zinc Oxide ...............
34.3
Potash Feldspar ...........
16.6
Strontium Carbonate .......
11.8
Kaolin ...................
27.6
Flint .....................
100.0%
GLAZE Xl (Cone 6-9)
A translucent 91aze at Cone 6, transparent af
Cone 9
Zinc Oxide ................
Volcanic Ash ..............
Whiting ..................
8.4%
82.7
8.9
I
100.0%
Add : Bentonite ............
1.0%
GLAZE Xll (Cone 4-9)
A maff glaze between Cone 4-6, translucent
at" Cone 9
7.7%
Zinc Oxide ...............
60.5
Potash Feldspar ............
6.8
Whiting ..................
14.0
Kaolin ...................
11.0
Flint .....................
FeaTUReS
100.0%
R I C H A R D BEHRENS, a graduate
chemist, currently teaches classes in
general ceramics, as well as clay and
glaze technology. He continues to research ceramic materials in his Cali[ornia laboratory~studio, and at Cali[ornia College o/ Arts and Cra[ts.
r F R O M O - 230 R P M
I I UNEQUALED TORQUE THRU
' " O U T THE SPEED RANGE
, e LIGHT W E I G H T - ONLY 5 5 LBS
~ _ _ e_ram_ics~roit__
.er, BAL . . . . . . . . . . . . . . . . .
~ w e s t e r n ceramics, sanfrancisco~
at t h e s e ~ e a ; e - r s ! ~
~ l e
A.RLT. ceramics. ~ i c m m
minnesota cl.ay; minneapolis
February 1975
43
ITINERARY
Continued from Page 8
CF~MIC
Awards. For information, write: Paul Bennett, Executive Director, Canadian Guild
of Crafts (Ontario), 29 Prince Arthur
Avenue, Toronto M5R IB2.
"II-IE
:- coM p '"'
mclx
theI mheel
TEXAS, HOUSTON
CERAMICFORMULAS:
TheCompleteCompendium
by John W. Conrad
March 24-April 20 "Creative Collaboration 1975," an exhibition of crafts and
sculpture designed for the architectural environment, sponsored by the American Institute of Architects' Auxiliary. Selections
to be made by J. Sheldon Carey. Awards;
Entry fee. Forms due February 20; shipped
entries due March 1-14; hand delivered
entries due March 15-16. For information,
write: Mrs. Melvin Hildebrandt, 9314
Lugary Drive, Houston 77036.
WEST VIRGINIA, CHARLESTON
June l-July 6 "Appalachian Corridors
Biennial Art Exhibition 4," is an invitational open to artists and craftsmen in the
Appalachian region of the following states:
Alabama, Georgia, Kentucky, Maryland,
North Carolina, Ohio, Pennsylvania, South
Carolina, Tennessee, Virginia, West Virginia, New York, and Mississippi. Purchase
awards from the 13-state Arts and Humanities Councils. A two-year trans-America
touring exhibition will be selected from the
Biennial for an expected bicentennial focus
on the art of Appalachia. For invitation
with information regarding entry, jurors,
awards, and prizes, write: Laurence Karasek, Appalachian Corridors Biennial Art
Exhibition 4, Charleston Art Gallery at
Sunrise, 746 Myrtle Road, Charleston
25314.
Now beginning and professional
potters alike can be confident of
success, without having to conduct
lengthy trial-and-error experiments
- - with CERAMIC FORMULAS, a
compendium of more than 700
tested formulas, and the only such
source book now available.
Designed to be used as a working manual the book contains easyto-follow coded color charts, and
covers clay, glaze, enamel, and
glass. Each of these four basic areas
is introduced with a concise and
informative discussion of the properties of the material. Methods of
testing materials to determine their
exact properties are described, and
comprehensive scales for evaluating
results are provided. The formulas-all tested for reliability and safety
by industry, potters, glassblowers
and enamelists - - are grouped ac.
cording to type of material and use
then further subdivided by media,
use, firing temperature, and technique.
WHERE TO GO
ALABAMA, BIRMINGHAM
February 2-26 Ceramic Sculpture by
Franklin D. Fleming; at the University
College Gallery of Art, University of Alabama.
ALABAMA, MOBILE
through February 23 "Two Hundred
Years of Royal Copenhagen Porcelain,"
Smithsonian traveling exhibition; at the
Mobile Art Gallery.
The author also includes a variety
of special effects and explains how
to achieve them. This is a longneeded reference volume for the
studio.
$10.95
m
m
m
m
m
m
m
February 23-March 7 "I,ow-fire Ceramic
Landscapes" by S. Judson Wilcox; at the
Ferguson Center Gallery.
m
i Name
I Address
City
State
Zip
Ohio residents add 44c per copy sales tax.
I
I enclose [ ] Check [ ] Money Order
We Pay Postage ~
Money-Back Guarantee
I
I
I
I
I
I
Lq
44
Ceramics Monthly
in
precision
quiet...
&
Designed to fulfill the needs
of the most accomplished
potter as well as the strenuOUS requirements of classroom use through maintenance
free, heavy-duty construction.
Entire power system is vibration isolated for extremely
quiet operation.
For free illustrated brochure
send your name and address to:
The Max Corporation, Box 34068,
Wastlington, D.C. 20034, or call
(301) 365-1544.
BUG TOWN CLAY
Formed by potters from
a need to have basic
supplies closer to you.
POTTERS AND SCHOOLS
- - W r i t e for free catalog.
7S-J Mendel Dr. S.W.
Atlanta, Ga. 30336
FRANCOISE CERAMICS,
INC.
DISTRIBUTOR FOR: Hanovla Lusters & precious
metals, Paragon Kilns, Duncan Ceramic Praducls.
IN STOCK: Large selection of Alberta • Arnel
• Atlantic n Fres-O-Lone n Holland n JamarMallory n Kentucky • Kimple • Ludwig-Schmld
n Weaver & White Horse Molds • Slip-O-Matlc
representative. Complete ceramic supplies.
WHOLESALE AND RETAIL
113 49th St. South
St. Petersburg, Fla. 33707
ALABAMA, TUSCALOOSA
ARIZONAj PHOENIX
CERAMICS MONTHLY Book Department
I Box 4548, Columbus, Ohio 43212
Please send me _ _
copies of CERAMIC
I
ORMULAS by John W. Conrad @ $10.95
the
maximum
February 21-April 18 "Indian Art of the
Americas," a loan exhibition from the
Museum of the American Indian, Heye
Foundation, New York, for the benefit of
the American Association of Museums; at
the Heard Museum.
ARKANSAS, LITTLE ROCK
through February 10 "Toys Designed by
Artists Exhibition"; at the Arkansas Arts
Center.
B. C., VANCOUVER
February 10-22 "Ceramics '75"; at the
House of Ceramics.
Continued on Page 45
AEGEAN
SPONGE CO.
Silks, Elephant Ears, Wools
Write for Price List
4459 W. 56 St., Cleveland, O. 44144
WEG)ULD
HAVESAVED
ITINERARY
Continued ]rom Page 44
to serve
the Mid-Atlantic
CALIFORNIA, Los ANGELES
through June 30 Palevsky-Heerameneck
Collection includes ceramics; Islamic Gallery, Los Angeles County Museum of Art.
and South
eagle
ceramics,
crusader cone II elecfr;c kilns
CALIFORNIA~ SACRAMENTO
February 7-March 16 "California Crafts
IX," Ninth Biennial Exhibition sponsored
by the Creative Art League of Sacramento
and supported by a grant from the National
Endowment for the Arts; at the E. B.
Crocker Art Gallery.
I & I kilns
COLORADO, DENVER
inc
burr "thermolite" portable gas kilns
walker jomar pugmills
kemper, ohaus, orton products
standard ceramics moist clay
full list of chemicals, dry clays, dry glazes
Catalog Available
at
12264 Wilkins Av., Rockville, Md. 20852
Phone (301) 881-2255
$23.00 will bring you postpaid . . .
100 INDIAN TAN RAWHIDE LEATHER
THONG STRAPS, 72-inches long. Can
be cut for hanging pottery and ceram;cs.
Sample on request. 50c each
KLECKNER'S SUPPLY CO.
23-ll Cornacja Ave., Far Rockaway, N.Y, 11691
BOOKS
AUTHORS: Cardew, Rhodes, Nelson.
DISCOUNTS of 10% and More. For complete list, write:
THE POTTER'S CORNER
4115 Robinson St.
Duluth, Minn. 55804
I
CON NECTICUTj GREENWICH
February 14-March 29 "Clay, Fiber, and
Wood," exhibition of work by William Wilhelmi, Kay Sekimachi, and Bob Stocksdale; at the Elements Gallery.
CONNECTICUT, HARTFORD
through May 15 Exhibition of 18th and
19th century American stoneware and
earthenware; at Wadsworth Atheneum.
(~UANTITY DISCOUNTS
EAGLE CERAMICS
CONNECTICUT, NEW CANAAN
February 8-March 4 "From the Source,"
an all-media members' exhibition; at Hays
Hall and Vassos Gallery, Silvermine Guild
of Artists.
D. C., WASHINGTON
through February 9 "Figure and Fantasy," exhibition of work by six East Coast
artists includes 12 ceramic objects by Bill
Stewart; at the Renwick Gallery.
through March 30 "The Chinese Exhibition," archaeological treasures of the
People's Republic of China; at the National
Gallery of Art.
through May 1l "Steuben Glass" retrospective traveling exhibition; Museum of
History and Technology, Smithsonian Institution.
February 28-March 15 Ceramic League
of Miami Members' Show; at Grove House.
FLORIDA, MIAMI
Sold only
by
Authorized
Dealers
1147 E. Elm
FLORIDA, ORLANDO
INSTRUCTION S P E C I A L I S T S
Let us helpyouwith your ceramic problems.Send for
our complete catalog of suppliesand equipmentwith
color charts.
Write OeptCM
Seeleys C e r a m i c Service Inc I ~
g River St.,Oneonta,N.Y.,13820(607432 3812}
gCR'FROM
WHERE
/~JEYOU
GOINe
NOW?
WH~,E~
TOLD ME
TO @OIN
THE FIRST
PLACE!
]:TOLD
YES
WHEREYOU
TOLDME
TOeO!
TOTHE
ClAYPBX~
WHEREi"
.~OULD ~Y£ C~ORE
February 28-March 2 The Florida Ceramic Show; Sheraton-Towers Hotel.
FLORIDA SARASOTA
*
.
YOU NEW.R
LISTEN
TO ME
FLORIDA, COCONUT GROVE
through February 17 "The Creative
Touch," a group show of works by local
artists includes ceramics by Susan Felz,
glass sculpture by Ellen Jacobs, macrame
and ceramic wall hangings by Juanita May,
and enameling by Pat Roberts; at the
Library Gallery of Miami-Dade Community College, North Campus.
W. P. DAWSON, INC. Fulle~'on,Calif. 92631
CERAM IC *
THEIR
PRICESWERE
through February 23 "South Asian
Sculpture: the Harold P. and Jane F. Ullman Collection"; The Denver Art Museum.
shimpo and pacifica wheels
Contact
ZTOi.D~tOU
through February 5 "Images in Clay
and Acrylics," two-woman show of work by
Eleanor Heller and Flo Singer; at the
Hilton Leech Gallery, 4433 Riverwood.
FLORIDA TAMPA
March 1-2 Gasparilla Sidewalk Art Festival; downtown Whiting Street.
Continued on Page 47
INTHE
nRSTPU~-E!
FORTHEBESTPRICESON
SHIM PO-WEST~WHEEI,S
AND CRUSADERKILNS
WRITE FOROUR PRIC.EUST
AND SAVEyouRSELF SOME NEEDED MONEY
THE CLAYPEOPLE
NO. ~
.
CHiCAgO, I t . l . ~ ( ~ - 7
February 1975
45
Perfectslabseverytime... MPP SLAB ROLLER andTABLE
"4
THE SLAB ROLLER: The top roller moves vertically fo provide
positive thickness adjustment and both turn together. Clay is
simply sandwiched between canvas and cranked through. Finished
slabs can be picked up on the canvas and carried without damage. Nearly anything, such as burlap, rope, or cork, can be
passed through with the clay for textural effects. Slab size: Up
to 30" wide, 21/2" thick, any length. Solid steel construction,
full guarantee. Bolts to any table.
THE TABLE: Custom-designed to facilitate the production of
many slabs, particularly for the artist who works alone. The
MPP bolts to the lower level and clay is worked on the upper
surface, which is even with the top of the bottom roller, so
slabs just zip through. Steel legs, unfinished partlcleboard top.
Cross-braced, wiggle-free.
Slab Rollers and Tables
Now In Stock For Immediate Shipment
LOOK WHAT THOMPSON
OFFERS YOU !
Would you believe that all of the items pictured above can be
yours . . . and get you started enameling . . . for only $59.95?
Yes, that's correct, Thompson's catalog introduces a new
package consisting of an electric kiln (inside dimensions m
5" wide, 7" deep, 4" high) and including a CAREFULLY
SELECTED group of enamels, metal shapes and supplies . . .
everything you need to start enameling immediately
for only $59.95, plus shipping charges. Send your order today
with payment for prompt shipment.
The new Thompson catalog, along with its famous Color Guide,
is waiting for you . . . just mail the coupon and it will be on
its way . . . absolutely FREE.
........................................................
Thomas C. Thompson Co.
Dept. CM 2 m 1539 Old Deerfield Road
Highland Park, Illinois 60035
[ ] Enclosed is payment for new kiln package.
(Illinois residents add 5% sales tax.)
[ ] Please rush FREE Thompson Catalog.
Name_
Address
City
46
Ceramics Monthly
State
Zip.
MPP, Model A (24" Rollers) . . . . . . . . . . . . . . . . . . . .
MPP, Model B (30" Rollers) . . . . . . . . . . . . . . . . . . . .
Model A Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Model B Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MPP Plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
$230.00
$24S.00
$ 84.00
$ 94.00
$ 10.00
DocoSTARPCITTERSJ
BOX 193
RADO CITY, TEXAS 79512
hone: (915) 728-2498
\
Brochure on request
BLUEBIRD
PROFESSIONAL
PUGMILLS
INCREASEPRODUCTION
and
CUT COSTS
FOR FREE INFORMATION
WRITE OR CALL:
BLUEBIRD MFG
c/o J U D S O N POTTERY
I00 G R E G O R Y R O A D
FT. COLLINS, C O 80521
303/484-3243
ITINERARY
Continued /tom Page 45
IDAHO~ BOISE
through February 9 Exhibition of work
LYmPIC KILNS
by four artists on visual arts faculty of
Sun Valley Center for the Arts includes
ceramics and glass; at the Boise Gallery
of Art.
ILLINOISj EVANSTON
February 14-March 14 Sculptures by Le
Roy Saucier, a concurrent exhibition which
opens on February 14 at the Evanston Art
Center, 2603 Sheridan Road; and on February 16 at Exhibit A, Gallery of American
Ceramics, 1708 Central Street.
INDIANAj EVANSVILLE
February 9-March 9 The 15th Annual
Mid-States Craft Exhibition; at the Evansville Museum of Arts and Sciences.
IOWA, AMES
through February 26 Fifth Annual Clay
and Paper Show; Octagon Arts Center.
IOWA, CEDAR RAPIDS
February 9-26 "Mexican Folk Art" from
the collection of Jens (Art) Morrison; at
Sinclair Auditorium, Coe College.
KANSAS, LAWRENGE
February 9-March 2 The 21st Annual
Kansas Designer Craftsman Show; at the
University of Kansas.
KANSASj LOGAN
February 15-March 16 "Handicrafts of
the Southeast," Smithsonian traveling exhibition; at the Hansen Memorial Museum
Association.
KENTUCKY, CARLISLE
February 6-28 "The Kentucky Artist/
Craftsman," traveling exhibition sponsored
by the Kentucky Arts Commission and
Kentucky Guild of Artists and Craftsmen;
at the Nicholas County Library.
LOUISIANA,NEW ORLEANS
February 1-21 "Functional Crafts--A
Bicentennial Event"; at the Louisiana
Crafts Council.
MARYLAND, ANNAPOLIS
February Group Show of University of
Maryland faculty and students; at The
Thought Gallery.
MASSACI-I USETTS s BOSTON
through March 12 "Frontier America:
The Far West," includes objects and artifacts dating from the 9th through the 19th
centuries; at the Museum of Fine Arts.
MICHIGAN, DETROIT
through March 1 Retrospective exhibition and sale of work by John and Ruby
Glick; at Pewabic Pottery, 10125 East
Jefferson.
MICHIOANj LANSING
through February 28 Michigan Artist/
Craftsman VI Regional Open Exhibition;
at the Lansing Community Art Gallery.
MICHIGAN, MASON
February 2-15 "Objects of Celebration,"
ceramics by Louis B. Raynor and stitchery
Continued on Page 49
Here's what you've been waiting for,
the Olympic portable gas kiln. We
call it the Torchbearer, and it fires
Lo cone 10 using natural, propane, or
butane gas.
The Torchbearer model 2827G is 281/4
inches wide and 27 inches deep. (10
cu. ft.). A 41/2 inch spacer ring may
be added giving 11.67 cu. ft.
Olympic kilns also offers a wide
variety of other models fo choose
from, both gas and electric. For further information send for our brochure,
or give us a cell today.
Division of
HAUGENMANUFACTURING,INC.
2222 North Pacific St., Seattle, W A . 98103
Phone (206) 632-0120
February
1975
47
IMPROVED
EX'
A time saving must for professional potters. Ideal for schools.
Easily makes handles, foot rims,
kiln furniture, tubes, mirror
frames, pots without a wheel and
many other forms. Saves many
times its cost in a few months of
use. Solid steel construction,
lifetime guarantee. Extruder, tubing die, and two blank dies with
instructions $65.00 F.O.B. Scott
Creek.
& HANDLE
MAKER
The New Extruder Die Kit makes
over 50 shapes. Solids, hollow
tubes from 1" to 21/2"in diameter.
Squares, cylinders, triangular
tubes or any combination. Blank
dies available to cut your own
shapes for beads, handles, tiles,
flutes, etc. Complete set of 12 dies,
inserts and bracket $32.00 F.O.B.
Scott Creek.
Add 6% sales tax in Calif. Send check or money
order to:
CREEK
SCOTT
482
POTTERY
Rd. Davenport,Ca.
Swanton
9 5017
IMACCO CLAYS
STONEWARE 8 to 11 RED
STONEWARE 8 to 11 BUFF
Manufact"urecJ from Californ|a clays mined and
processed by Indusfrlal Minerals Co. Formulafed
fo provide excellenf workabilify and drying
characfer. Fires from llghf buff fo red-brown wlfh
I0 sfonewares
iron specking. Imacco cone
possess good fhermo-shock reslsfance fo provide
fhe s÷udlo p o l l e r wlfh maximum recovery of fired
obiecfs. W r i t e for complefe 1975 clay dafa sheers
and prices.
P.O. BOX
BOULDER,
4032
303-4433
WRITE
ELECTRIC
80 3 0 2
FOR
Ceramics Monthly
BROCHURE
KICKWHEELS
KICKWHEELS
48
COLORADO
515
- KITS
~
INDUSTRIAL MINERALS CO
1057 CommercialSf.. San Corlos. Ca. 94070
A ~A$1C PRODUCER OF TALC,
GERSTLEY BORATE,
KAOLIN, BALL AND FIR~ CLAY
EARN A LIVING
In Hobby Ceramics
These two books show you how.
TEACHING HOBBY CERAMICS by Kay
Healy is the complete guide to conducting classes in ceramics, glass, porcelain
and china painting. 35 step-by-step lesson plans for the beginning teacher or
the old-timer who wants to bring something new to hobbyists........ $7.00
THE WONDERFUL BUSINESS OF CERAMICS by Merle Peratis tells you how
to set up and operate a profitable hobby
ceramics shop at home or store. $3.95
BUYERS GUIDE for the Ceramic Hobby
Industry. 5000 references on manufacturers, importers, distributors, teachers,
etc.......................
$3.00
(include 25 cents postage & handling charge
per book. Calif. residents also add 6% sales
tax please.)
Order Today from The Library Comer,
your distributor or directly from:
CERAMIC SCOPE BOOKS
BOX 48643, LOS Angeles, Ca. 90048
ITINERARY
Continued ]rom Page 47
by Mary E. Storrer; at the Sycamore Gallery, 516 North Cedar Street.
MISSOURI, ST. LOUIS
February 2-26 Stoneware by Ed McEndarter and weavings by Libbie Crawford;
at Craft Alliance Gallery.
NEw JERSEY, POMONA
February 9-28 "First Annual Sculptural
and Semi-Functional Ceramics Invitational"
includes work by Howard Kottler, Ken
Vavrek, Gail Kenal, Bob Clark, Harris
Deller, and Donna Nicholas; at Stockton
State College.
Complete
Chemicals
Raw Materials & EquTpmenf
1212 San Pablo Ave.
BERKELEY, C A . 94706
S A N DIEGO - - Kickwheel kit - - Mod-B
(metal parts) S49.S0. Full line of poffer's
wheels, gas and electric kilns. Gas kiln parts,
pug mill, chemical, scales and much more.
Phone: 424-3250.
WAY-CRAFT
394 Delaware St., /mperlal Beach, CA 92032
Formerly
POTTERY
by DOT
N E W YORK, GARDEN CITY
February 16-March 2 Annual juried exhibition of crafts by members of the Long
Island Craftsmen's Guild; at the Firehouse
Gallery, Nassau Community College.
through March 22 "Raku: A Point of
Departure," exhibition of ceramics by students of Madeleine Lane; at Swirbul Library, Adelphi University.
through February 13 "Crafts of Alaska."
February 21-April 6 Loraine Gonzalez
Since 1946
KILNS
NEW JERSEY, SUMMIT
February 2-23 Summit Art Center Annual Juried Exhibit; at Summit Art Center.
NEw YORK, NEW YORK
LESLIE CERAMICS
SUPPLY CO.
STBY
E
Memorial traveling show of major works by
ACC/South Central Region craftsmen;
both at American Crafts Council Gallery.
through February 15 Ceramics by William McCreath; at Greenwich House.
through February 23 "Creation in Clay,"
pottery sculptures from pre-Columbian
Mexico and Peru, Africa, and New Guinea;
at the Museum of Primitive Art.
through March 2 "Stained Glass by
Robert Sowers," a collection of stained
glass panels; at The Museum of Contemporary Crafts.
through ~Iarch 2l "Ceramic Jewish
Meta-Ceremonial Objects" by Jonathan
Craig; at the House of Living Judaism.
NEW YORK, NIAGARA FALLS
February 4-23 Fredonia State College
Student Show; at the Carborundum Museum of Ceramics.
NEW YORK, WHITE PLAINS
February 2-20 Westchester Art Society
Annual Art Show; at Westchester Society,
88 East Post Road.
NOVA SCOTIA, HALIFAX
through February 16 University Community Art and Craft Exhibit at Seton
Academic Centre, Mount Saint Vincent
University.
OHIO, CINCINNATI
through March 2 "The Campbell Museum Collection" includes ceramic soup
tureens representing the arts of the 18th
century European craftsmen; Cincinnati
Art Museum.
OHIO, CLEVELAND
through February 15 Northeast Ohio
Continued on Page 51
NOWZ
A 6ood Kiln
Heed Not Be
Expensive
Save up to 3 7 % using a few
pleasant hours to fit together
one of our easy-to-assemble
kiln kits. Fun to do - - efficient
to use. Step by step instructions for assembly and easy
beautiful firing.
These Are Kilns Made By
People Who Do Ceramics and
Know What a Kiln Has To Do.
Commercial Kiln Kit
24"x24"x27" deep . . . . . . . $229.00
Studio Kiln Kit
18"x18"x18" deep . . . . . . $119.95
Hobby Kiln Kit
12"x12"x131/2" deep . . . . . $74.95
Send for free brochure.
WESTBY
Ceramic Supply & Mfg. Co.
408 N.E. 72nd St., Seattle, Wash. 981 ! 5
February 1975
49
T00LST,AT
THEHAND
From the hands of Gunther Granget, to many other leading artists
in the world today, Kemper Tools are known as "Tools That Craft
The Hand".
Continuous research and advice from leading artists and craftsmen have guided and developed the high quality and perfection
of Kemper Tools.
This selection of tools is again carefully formed and shaped of
very durable hardwood to meet a variety of uses in sculpturing,
ceramics, and pottery fields.
Code names... 402 404 406 428
Remember, never accept a substitute or similar code-name, only
Kemper Tools craft the hand.
~t//
SIZE: 10" approximate length, 1"
T'~
width at broadest point.
SINCE p~'eH~"e)"
1947
Write for the complete Kemper catalog,
~g 0 ~-%
enclosing 50¢ for handling charges,
or contact your nearest dealer.
in
Now NO. 1 in Canada
SAN FRANCISCO
it's
WESTERN
CERAMICS
Variable Speed
POTTER'S WHEELS
The Artist's Choice
since 1945 for:
Beautiful, quality controlled, "WESTERN" glazes,
140 of which are lead safe m PLUS m 10 exciting
new LEAD FREE high fire glazes - - Cone 6 - 1 0 .
C L A Y BODIES - - Stoneware, Sculpture & Porcelain
Raw Materials • T o o l s - All Types • Kilns •
Kick & Electric Wheels - - Laboratory Equipment
Now proudly presenting the "Max" and the
"Wittels" electric potter's wheels with advanced and superior performance.
C a t a l o g $1.00
(Free to Schools and Institutions)
Model RK-2 (shown).
All models C.S.A. approved.
t';.,'<'/..~',','( Iml)o,'f~'~" c!~lct Di.~'ihl~tor
WESTERN CERAMICS SUPPLY COMPANY
1601 HOWARD ST.
50
Ceramics Monthly
SAN FRANCISCO, CALIF. 94103
518 l'eatty ~t,
Vancouver. IL(.
ITINERARY
Continued [rom Page 49
Women's Invitational; at NOVA
Organization for the Visual Arts).
(New
OHIO, COLUMBUS
February 2-28 "Glass with Gold" by
Gilbert Johnson, Penland, North Carolina:
at Helen Winnemore's, 150 E. Kossuth.
February 16-March 21 "Liturgical Art
V"; at Schumacher Gallery, Capital University.
Shop the world
for the most
durable kiln.
OHIO, FINDLAY
February 9-March 15 "Clay Work" by
George Hageman; at the Egner Fine Arts
Gallery, Findlay College.
March 2-April 4 Annual March Craft
Show includes ceramics by John Kloor,
Floy Shafer, and Leonard Stach; and weaving by Judy Felgar and Mary Beck Stach;
at Gallery One, 231 West Hardin Street.
You'll ultimately
choose Unique.
OHIO, TOLEDO
February 2-March 2 "Dominick Labino: A Decade of Glass"; at The Toledo
Museum of Art.
Unique Kilns stand above the rest. They are precise professional kilns for pros . . . built by craftsmen who blend solid
engineering knowhow with sound traditional skills. When you
specify Unique, you get durability and not planned obsolescence; reliability in the rugged sense of the word; and,
best of all, efficiency and trouble-free performance. Invest
wisely and well. Buy your next kiln from Unique . . . the
kiln people.
OHIO, YOUNGSTOWN
through February 23 The 27th Annual
Ohio Ceramic and Sculpture Show; at The
Butler Institute of American Art.
To s t a r t you on y o u r way, ask f o r our free catalog.
OKLAHOSIA~ OKLAHOI~IACITY
February 23-March 7 The Fourth Annual Oklahoma Art Guild Show; at the
Liberty National Bank.
Box 176/Pennington, NJ 08534/(609) 466-3600
UniqudKilns
ONTARIO, TORONTO
February 4-March 1 "Winter Blues,"
juried national show; at the Canadian
Guild of Potters, 100 Avenue Road.
March 1-2 Annual Crafts Festival sponsored by the Toronto Women's O R T ; at
the Sheraton Four Seasons Hotel.
It takes
to do the job
L
OREGON, PORTLAND
through February 12 Michael Zametkin,
ceramics; Dorothy Liebes, memorial textile
collection; at the Hoffman Gallery, School
of the Arts and Crafts Society.
\
PRINCE EDWARDISLAND, CHARLOTTETOVCN
February 17-March 17 "Entr'acte," biennial exhibition coordinated by the Canadian Guild of Crafts (Ontario); at the
Confederation Art Gallery and Museum.
TENNESSEE, GREENEVILLE
February 16-March 18 "Glass Gems International," an im'itational glass show
features a workshop (dates to be announced) by Joel Philip Myers; at Tusculum College.
TENNESSEE, KINGSPORT
March 14-16 The 1975 Spring Arts and
Crafts Mart; at the Civic Auditorium.
TEXAS, AUSTIN
through March 2 "Chinese Export Porcelain," selections from the Reeves Collection, Smithsonian traveling exhibition; at
the University Art Museum.
TEXAS, WACO
February Traveling Exhibit B of the
Southern Highlands Handicraft Guild; at
Baylor University.
I
,
Firing
Cone
Cone
The Edward
ORTON
Jr. Ceramic
FOUNDATION
1445 Summit Street
Columbus,Ohio43201
Three Orton cones are the
best firing insurance you
can have. The guide cone
lets you know the ware is
approaching maturity, and
the firing cone lets you
know the firing is at the
correct point. Deformation
of the guard cone indicates
you have gone beyond the
best point in the time-andtemperature relationship.
(
/~
/
~uard
Cone
l
Plaques of cones placed so they may be
observed through the peep holes give you
an indication of firing progress.These, and
others, placed throughout the setting or used in
conjunction with automatic shut-off devices, may be
examined after firing is completedto give you a detailed
picture of conditions in all parts of the kiln.
Learn more about OrtonStandard Pyrometricconesand
how they can help you to better, more uniform firing
results. Ask your dealer for a free copyof "Orton Cones
and their Importance to the Hobby Potter".
February 1975
51
ALABAMA
DONNA'S CERAMIC CRAFTS
thgh~ly 431. Gkm¢oe S~1op~n~ Citnter. G I I ~
HAZELHURST CERAMICS
P.O. Box 124. PMz~ G r ~
JEWEL COX CE RAM~CS
600 Merwina A v ~ . MoVie
THE PIXIE POTTERY
2720- Sth A v ~ e South, Irondale Industrial Pack,
B~rn~ngham
PIXIE POTTERY OF MONTGOMERY
1334 Madison A ~ e . k ~ t Immery
ALASKA
ALASKA MUO PUDDLE
9034 HartZell Road. A n d ~ o ~
ARIZONA
MARJON CERAMICS, INC.
3418 North 24th Strut, Ftto4mix
MARJON CERAMICS TUCSON
426 Wes~/Utur~. T ~
ARKANSAS
CERAMIC ART CENTER. INC
1217 Rebsamen park Road. Utile Rod(
FORT SMITH CERAMIC SUPPLY COMPANY. INC.
7318 Ro,~ers A v ~ e , Fort S ~ t h
CALIFORNIA
AVANTY CERAMICS
887 S7th Street. Suc~lmento
B. J. CERAMICS
2lEg Broadway, Eurek~
BAY-SHORE CERAMIC SUPPLY. INC.
CMeI
~
5~) Aldo A ~ .
BETTY~J CERAM)CS
~outh Pmam~nt Boulev~r d, South Gate
1~
CERAMIC SUPPLY OF SAN O~EGO
33O 1sth Street. SU. Owed
9, L, CLUTTER
Hawth~
131121 ngh~wo~xI A ~ ,
CREST CERAMICS
1806 NOrth Chester Averse+ B4ikenthNd
DAHM CERAMICS
924 El Clmino Real. So~Jth San Fra~¢b~o
DUNCAN CERAMIC HOBBY SUPPLY
5646 Gist Shields, F r ~
LEG'S CERAMIC SUPPLY
1055 Sonoml B~Jl~ard, VMI~jo
PASO ROBLES CERAMIC SHOP
3 mile~ North of Pa~o Rob~eson O(d 101, Pa~e R o l ~
RHOOY'S CERAMICS
1640 Co~t ~ge A v ~ e . Nationd CIW
STEWARTS OF CALIFORNIA. INC.
16055 South Heron, La I~Mda
WESTWOOD CERAMJC SUPPLY COMPANY. INC
14400 Lomit~ A~r~Je. City of thd~ stay
COLORADO
V A N HOWE CERAMIC SUPPLY COMPANY
11975 EaSt 4Drh Avmue, D e ~
CONNECTICOT
E LMWOOO CERAMIC STUDIO
62 Fmmingt~ Avenue. FarmMgtmt
JEAN'S CERAMIC STUDIO
I073 Buddington Road. Gloria
DELAWARE
GABS CERAMICS
4707-9 Coverer Printz B o u l ~ d , Wilminllt ~
FLORIDA
CALLAWAY CRAFT CENTER
Routl 2, BOX 546. H ~ h ~ y 22. Panama City
CALLAWAY CRAFT CENTE R # 2
3105 North " 1 " Strut, PaMm:oM
THE CERAMIC SHOPPE
6025 C~mster Avenue, ~ l l
DOLPHIN ART CERAMICS
309 ~ x t h Street, H4dly Hill
FLORIDA CERAMIC SUPPLY
1698 Donna Road, West Palm
FRANCOISE CERAMICS. INC.
113 49th Street South. St+ Paterthurg
MIAMI ART-CRAFTS SUPPLIES
235 Northeast ETth Street, Miami
GEORGIA
ALLISON CERAMIC SUPPLIES
931 McBride Dr+~, Co.rebus
CSRA CERAMICS
510 G r m Street. Augusta
G A L A X Y CERAMICS INC.
2114 Habertharn Street, Savannah
GEORGIA CERAMIC SUPPLY. INC,
Ha~nMl*
~outh C~ltrll A ~ .
PARRISH CERAMICS
2426 South P a t t ~ Strut. VMdo~tl
HAWAII
TERRA CERAMICS
3035¢ Koi~lke Street. N O ~ u I ,
IDAHO
NU ART CERAMIC & GIFT SHOP
427 North Main. Pocat IRo
TREASURE VALLEY CERAMICS
Highway BS North, Wild~
ILLINOIS
CENTRAL CERAMIC ART SUPPLY COMPANY
29WE~ Bat~/ia Ro~d. Wm~nviBe
CERAMIC CREATIONS
4115 W~t Liw~er~ Ave~e. Ch w.a~o
CERAMICS BY JOY
3230 -23rd Avenue. M o l i a
JOLIET CERAMIC ARTS & CRAFTS INC.
64 North Desplain~ Street. Jo4iet
5CHERTZ CERAMIC STUOIO
1201 West Brons. Pmma
TOWN & COUNTRY CERAMIC SUPPLY
1 Nocth US Route 83 & Center Street. Gre~la~e
TOWN & COUNTRY CERAMIC SUPPLY
SPRINGFIELD BRANCH
2809 SQuib S~xth Strait. ~ r i r . ~ i d d
INDIANA
CRAFSHCE, INC.
Highway 67 North, V i ~ ml$
EDITH'S CEHAMIC NOOK
6S11 Julian Avem~, I n - - i s
MEL'S CERAMIC CORNER
East M|in Street. I~Niffith
THE MUD HUT
1815 South Harrison Street, Fort Wayne
NEELY'S CERAMIC STUDIO
311 South A~I~= Road. Olce~ a
10WA
LYLE'S CERAMIC CENTER
1615 South F~deral, M ~ City
52
Ceramics Monthly
NORMA'S CERAMICS
1107 North Eighth Street. Salrlinlto n
PARKER CERAMIC SUPPLY COMPANY
2204 Weti 23rd Street, Om Moines
RIVERVIEW CERAMiCS
511 " M " Avenue NW. Chdlr R ~ t h
KANSAS
EVANS CERAMIC SUPPLY
1518 South Washmgt~, Wichitl
MID-AMERICA CERAMIC SUPPLY COMPANY
817 Central Avenue, KiBes C~ty
PRAIRIE DOG CERAMICS
R F D # 1, Noet~
SHAOOW-BOK CERAMIC STUDIO
308 West Qoud Street. ~ l l i ~
KENTUCRY
LOIS CERAMICS
Street.
i5O8 W ~
P O L L Y ~ P L A Y HOUSE C E R A M I C STUDIO
Tavl~ille Road. ~ t ~
SANDY'S CERAMICS
Route 2, Ewing Ford Road, Boadinl G r m
TOM'S CERAM IC STUDIO
1§ West O4th Strait, C o ~ i ~
WEST KENTUCKY CERAMICS
Street. P ~ h
1101 J e H ~
LOUISIANA
8OEHM CERAMIC SUPPLY
2239 East NapOleOn (Hwy 90 E). Sulphur
MET-LA CERAMICS. INC.
4411 Conlin St rlet, M ~ i r i l
SHREVEPORT CERAMIC SUPPLY
444 Olivl Strmt, b B l p o r t
WILMAR'S CERAMIC SUPPLY
Aklundrie
1121 Bolton A ~ .
Wl LMAR "S CERAMIC SUPPLY
1210 SOUth End Street, P / ~
MAINE
ME.N-JO CERAMics
U.S. R ~ t e # 1 ~t Dumta~ C ~ r w , WeSt ~.a¢ borough
SMITH'S CERAMICS
268 Main Strict+ B4~lO~
MARYLANO
DOTTIE'S ART CORNER
50~ South M~n Street, Mount Airy
HIGHHRIOGE CERAMICS
St. Stel~hlns Church Road & MD R ~ t e 3, Gmth~ifls
MARVLAND CERAMIC HOUSE, LTO.
7902 Harfor d Road. Blthm¢¢e
MASSACHUSETTS
FLO'S CERAMICS
3'-~ Weston Street, WiR~ldwm
GINA'S CERAMIC SUPPLY HOUSE
588 Broad Street, East W e y ~ t h
NASHOBA CERAMICS
M~g4Jire Line. Stow
WOBURN CERAMIC SUPPLY
20 Walnut Strut, Wo~rn
MICHIGAN
JOKEN'S CERAMICS
227 West Wldlington Strmt, Marquette
JOY REID CERAMIC STUDIO
Road. DMrbom
2016 North T ~ h
TARI TAN CERAMIC SUPPLY, INC,
817 Cherry Sc~qheast, Grlmd R I ~
MINNESOTA
CERAMICS BY DEE
895 Front Avenue, St. plul
0 & H CERAMICS
6309 G~and A ~ n ~ . Duluth
PARAMOUNT CERAMIC, INC.
220 NOrth State Strut. P a i n t
T J's CE HAMICS, INC,
1311 East 66th Street, Minnea~is
MISSJSSIPPI
BI LL'S CERAMIC & GiFT SHOP
Rt, S, BOx 242-B, C~umbm
DOUBLE L CERAMIC SUPPLY
H~ghway BO West, J~duon
MENAGERIE CERAMICS
IEO3 W ~ I ~ Avenue, LIK~Id
MISSOURI
DOUGLAS CERAMIC & CHRISTMAS 6HOP
R ~ t e 6, BOx $77S. M~ville Road, Spri~fl~dd
FOUR CORNERS CERAMICS. JNC.
10008 Emt 50 H~hwey. R l w t ~
GENEVIEVE'S CERAMIC STUDIO. INC.
E514 Web~ Road. St. L i d s
LOVE CERAMICS
R ~ t e E, BOx 291. NIo~ko
THOMAS CERAMIC SUPPLIES
H i g h l y ~7 South, CMiforma
MONTANA
ALICE'S CERAMICS
371 Gut Teton A v e ~ , 6~dby
COUNTRV COTTAGE CERAMICS
R ~ t e 5, KMN~dl
MONTANA CERAMIC SUPPLY
A v ~ , m5 ini+
2018 A ) ~
SHIRLEY'S CERAMIC 5UPPU ES
90~ 13th Avenue S0uth, G r u t FMIs
NEBRASKA
BEflNtCE'S CERAMICS
8EO5 Highway S Northeast, Un¢oln
FHEISZ CERAMIC STUOIO
8955-8957 " J " StrNt, Omah~
W & M CERAMIC STUDIO
2215 A ~ e G. Kmrr~y
NEVADA
CERAMIC ARTS, INC.
19(~i Western Street, Lis V a l ~
NEW HAMPSHIRE
DORA'S CERAMIC STUDIO
R7 Broadwly Averted, Mamchenl r
SUPERIOR VIEW CERAMICS
Route 12, Wmtmordand
NEW JERSEY
BROWN'S CERAMIC SUPPLIES
61B North Second Street. MBIvUle
CERAMIC MAGIC
Rob't• 1 and Oakland A~nue. Ediso~
DOLLY'S CERAMIC ART STUDIO
30 M~t0ocnilry Stni~'t, CBftoo
SAVAGE CERAMIC SUPPLY COMPANY
R ~ t e 37 & Batchelo r Street, T ~ Rivm
NEW MEXICO
VAN HOWE CERAMICS OF ALBUQUERQUE
4810 Pan An~l¢~c~n F r m ~ y . Northeast
East Frontage Road. A l b u ~ a
NEW YORK
CEL-ART CERAMics. INC.
6750 FiNh Avenue. Brooklyn
CENTRAL NEW YORK CERAMIC SUPPLY
213-215 Second Streez, Lw~rpool
THE CERAMIC TOUCH. INC
34S New K e r ~ Road,/dbeny
DEAN~J CERAMIC & GIFT SHOPPE
248 Chen~go Sir ~ t , ~ nell imltoll
DOLLMAN CERAMIC SUPPLIES, INC.
663 Walden A r g u e , Buffalo
GLAO-WELL CERAMIC STUDIO & SUPPLY
868 P¢+lldale Avenue. Scerld~e l
JEAN LEONARD CERAMICS
Coro~
96"24 C o r ~ A ~ ,
LEZETTE CERAMICS
R ~ t l 212. Suuge~ti~.Woodstock Road. ~ r t i m
LONG ISLAND CERAMIC CENTER
1190 Route 109. Lind*mhurlt
RUNION CERAMIC SUPPLY
23~ West C o m ~ c i a l Street. East Roch~t~
SEELEY'S CERAMIC SERVK~E. INC.
9 R~v~ Street. O ~ n m
STAATE N CERAMICS
233 ~ i n Street, E t l t ~ Island
NORTH CAROLINA
CREATIVE CRAFTS CERAMICS. INC.
6316 Yadkin Road, Flyett~lla
DURHAM CERAMIC SUPPLIES. INC
1347 Aeond41e Drive. D u t h m
GRAHAM CERAMICS. LTD.
1310 C~ntral A~enue. Chldotte
MUSE CERAMICS
1903 Delumod Road. W a y ~ i B e
NORTH DAKOTA
CAROL'S CERAMIC CENTER
HlghMy 83 North, Minos
DO ROTHA'S CERAMIC SUPPLY
410 Ealt Main, MII~Wn
NORTHWEST CEHAMIC SUPPLY
221-223 BroadMy, F ~ o
0HI0
G & H CERAMICS
BOx 287. Botkim Angle Rold. New KnOxville
KARSHNER'S CERAMICS
673 WRen Road. Columbus
OHIO CERAMIC SUPPLY. INC.
BOx E30, 2861 State Route 5~. Kant
RUTH~ CERAMICS
Rural Route 1. N~w W m h m ~
THE VILLAGE CERAMIC STUDIO SUPPLY. INC.
~ 8 East Main Street, New L ~
VILLAGE CERAMIC STUDIO
8112 Blue Ash Road, C~n¢~nnlti
OKLAHOMA
CERAMIC COTTAGE
748 Sooth Wheeling. Tul~
DOLLIE'S CERAMICS & PORCELAIN
3011 South Shields B ~ l ~ e r d , Oklahoma City
GUYER'S CERAMIC HOBBY SUPPLY
1402 S o u t h - - s 21s~ Str ~t+ L i w t ~
OREGON
CLARKE'S CERAMICS
1585 Jun+p~. Jarctk=n City
DOBE DEPOT. INC
1100 North Central. Mndfocd
DOgE DEPOT. INC.
2809 Southeast Stark S i r s , Portland
PENNSYLVANIA
AMEIGH'S CERAMIC STUOIO
A~nue, Williamspo~l
1610 R ~ e l t
DECKER CERAMIC SUPPLY COMPANY INC.
426 L i ~ l n M y West. New Oxford
BELL'S CERAMIC ARTS INC,
72E R ~ t e 15 N., Oill#au rg
CERAMIC GROVE GIFT SHOPPE
109 12th A~nue, Junilt~Altoona
CERAMICS BY LAFORCE, INC,
1 M ~ We~ on R ~ t a 22O. AVn
CROSS CREEK CERAMICS. INC.
3596 O r o ~ i l r e Road, P i ~ q l h
ELStE'S CERAMICS OF WHITEHALL, INC,
331 Grape Street, WhitehM((AIMfltow~)
ELSIE'S CERAMICS, FLOYD SCHEIB, INC.
669 East Main Street. H~tim
KOCH'S CERAMICS
624 Gr~e A ~ e , J o h n ~
LE BOEUF FINISHING & CERAMIC SUPPLY
Rural O e l i ~ y # 5. Waderford
LIBERTY BELL CERAMICS. INC
4511 Nocth Broad Strut, Philldelphia
THE POTTER'S MILL
Route 611 & Turk Road, DoyMstown
SHERMAN HECREATION PRODUCTS
CORPORATION
101 Terence Drive, pittthurgh
SUNSHINE CERAMICS, INC,
Route 307. Rural DeLivery 3, M o ~ w
RHODE ISLAND
CERAM.ART STUDIO
3101 East Main Road. ~ h
LOUIS' CERAMIC SUPPLY COMPANY
114 Smithfield Avenue, ~ e t
SOUTH CAROLINA
ANDERSON CERAMICS COMPANY, INC.
1950 South McOuffie Street, Anderson
FAITH ~ CERAMICS, INC.
P.O. Box 24. NO~WW
ROURK'S CERAMIC STUDIO, INC.
2475 A.thlrf River Road at Pierpont. C~Helton
SOUTH DAKOTA
CERAMIC HOBBY SUPPLY
1117 West 11th Street, Bioux FMN
CERAMIC SUPPLY CENTER
2923 WeSt Rigid. Rapid CaW
TENNESSEE
LINDA'S CERAMIC-KORNER. INC.
134-138 Randolph Road, Grove Center, Oek Ridge
HOUSE OF CERAMICS, INC.
1011 North Hollywood, ~ p h i l
DOROTHY LAMAR CERAMICS
3302 Gallatin Road, Nlslwll M
MOUNTAIN vIEW CBRAMIC CENTER, INC.
4712 D a y t ~ BNd., Chr~mooge
RINGER CERAMICS
952 Main Street, NashviIM
TWIN CITY CE RAMICS. INC.
2612 Volunt~r Parkwav, Brlzto(
TEXAS
BATEMAN CERAMICS
716 Pierce Str~¢, Dallas
BATEMAN CERAMICS
6615 E~t Lancet er. Fort Worth
LAURtNE BROCK STUDIO
1651 West Woodlaw. A ~ n ~ . San Amomo
C. C. CERAMiCS
4343 Kost~yz, Cot pul Chri~i
CERAMIC ART 8= ANTIQUE SHOP
2004 Allen Drive. Wkdlita Falls
THE CERAMIC PEEPLES
1-112 Miles East H i g h l y 1729. N ~ Deal
THE HOBBY SHOP
911 North Mockingbird La~. AbRe~
HOUSTON ARTS & CRAFTS, INC.
2048 Marshall, Houston
L I M A CERAMICS
907 Lomaland Drive. El Pars
UTAH
CAPITAL CERAMICS, INC.
2174 South Main Street. SMI Like City
VERMONT
VERMONT CE RAMIC SUPPLY CENTER
491 West Strut, Rutland
VIRGINIA
DILL-HAWK CERAMICS, tNC,
R ~ t e 2. Box 436. H i , w a y 117, R ~ k e
M-C STUDIO, INC.
4115 Hopkins Road, Richm0nd
POTTERY ART STUDIO, INC.
4401 Kdlam A r g u e , Norfolk
WASHINGTON
CERAMIC HUT
3996 Valley Highway # 9. Demlng
CERAMICS BY SHIRLEY
404 South Second Strut. Yadtiml
LLOYD'S CERAMICS AND POTTERY
318 Westlake A a n ~ North. Samttla
MILLER'S CERAMICS
4828 Pacific Avenue, T ~
SPOKANE CERAMIC SUPPLY
west 38 Third A ~ n ~ . Spoka~
WEST VIRGINIA
B & M CERAMICS. INC.
1002 Broadway Avenue, Parkarsburg
MULLENS CERAMIC SHOP
1011 Moran Avenue. Mu.e~s
TODD'S CERAMIC SUPPLY, INC.
2029 POpfK Strut, K ~ a
TOWN & COUNTRY ARTS & GRAFTS
One-half mile on Crooked Run Road off
Route 19 i t Gme. Cbththurg
WISCONSJN
FIRESt DE CERAMICS
2805 North Barker Road. Sa~kRdd
MARCELLA'S CERAMICS INC.
1150 Inman Parkway. Belo~t
MARCELLA'S CERAMICS INC
3119 East WashmBt~ Avenue. MndHon
ROLENE CERAMIC STUDIO. INC.
2522 W~t M ~ Street. G r ~ Bay
WAUGH~ CERAMIC STUDIO. INC
R ~ t e 3, 2 miles East of Tomah on
Highway 12 & 16. Tomah
WYOMING
SCULLY CERAMIC SUPPLY, INC.
146 ~ t h Elk. ~ r
CANAOA
ADANAC CERAMICS
820 R e n f r ~ Strut
6, BrHish C~um~a
v a ~
ALBERTA CERAMIC SUPPLIES, L T D
Southeast
326 42nd A w ~
C a r r y , Alhmta
ALBERTA CERAMIC SUPPLIES, LTD
11565 - 149th Street
Edmont~, Albertl
CARPENTER CERAMICS
3708 South P~ksPde D r i ~
L i ~ b r i ~ , ~db=r~
COBEOUID CERAMICS
43*47 Fmre=~ Strut
T i m . Nova Scotia
ISLAND CERAMIC SUPPLIES
Island Highway. 3 MbI~ South of Nanalmo
Nanlimo. British Columbia
JONASSON CERAMIC SUPPLY
594 Notre Dame A v e ~ e
Wi,r,~eg 2, Nonhot=
REGINA CERAMICS LTD.
1733 McAra Strut
Rqli~, Sasl.m:he~n
SYL AND SUNS CERAMICS LTD.
121 ~ p Avenue
Sa~Valt~ . Sa¢lult¢ b l ~ n
UNICERAM, INC.
4070 St-D~is
VILLAGE CERAMICS LTD.
25-10 Connell Court
T ~ t O , Drtla~o
PUERTO RIC0
CASA DEL BARRO, iNC.
F i l l Calla Fad~i~ A. Costa # 1047
Urb. Induetrlal Tins M~jitas, Hito Rey
A i m diet ri~Jt~S in the follow~ng foreign
~ntrles:
GREECE
AUSTRALIA
ICELAND
COSTA RICA
ENGLAND
PANAMA
PHILIPPINES
VENEZUELA
For further information ~ i t e to:
FRANCE
Ounan Cer=n~¢ F r ¢ ~ u Ip¢.
P. O. Box 762~'
Frame. C ~ f f ~ n l l 93727
CERAMACTIVITIES
people, places, and things
CERAMIC OLYMPICS COMPETITION
AT MILLIKEN
Milliken University, Decatur, Illinois,
was the location of the Ceramic Olympics
Competition held May 3-6, 1974. The
competition was keen among the ceramists
participating in establishing world records
in the following events:
Thinnest 10-inch cylinder: Average wall
CERAMICS MONTItLY. Summer schools and
workshops not already contacted are invited to furnish information about ceramics, enamel, or glass workshops. Please include workshop name, location, opening
and closing dates of sessions, course description, names of instructors, and a name
and address for details. Send before March
1 to Summer Workshops, CERAMICS
MONTHLY, Box 4548, Columbus, Ohio
43212.
TERSTEEG CERAMIC SCULPTURE
AT SORDONI GALLERY
The November exhibit at the Sordoni
Gallery in Wilkes Barre, Pennsylvania, featured ceramic sculpture by William J.
Tersteeg and weaving by Naomi Towner.
The Tersteeg work h'aturcd functional and
NEW PROGRAMS AT
SAN FRANCISCO ART INSTITUTE
Arnic Zimm,
ttt!'ttl
(,it
t/I~
IJ't~
]~,
t/
and 9 inches. Record set at 3/32 inches by
Glenn Barnett, Vancouver, Washington, associated with H & V Pottery, Grass Valley
California.
Biggest Bowl: Largest (volume) bowl
thrown in one piece from an unlimited
amount of clay--measured after firing to
Cone 010. Record set at 22.3 gallons by
Chris Gustin, currently at Kansas City Art
Institute.
Fifty Cup Event: A speed event of the
total time to throw, pull, attach handles,
and foot 50 cups (cups to hold no less than
:', -,mc,'~ c~f fI~dd . Record set at 105
k
According to Fred Martin, director of
the San Francisco Art Institute, two new
program opportunities of importance have
been established for students. The first
makes it possible to achieve a B.F.A. degree in three years by reducing the number
of courses required from 32 (128 semester
units) to 30, and permitting students to
take five courses instead of the customary
four per semester. The second new program deals directly with problems facing
some art students after graduation and
over the five-to-ten year period during
which they attempt to establish careers in
the art world. During this time many artists
must find some source of economic support outside of their field. To meet these
problems, the Art Institute established, beginning with the Fall 1974 semester, a
program to help students develop supplementary vocations by means of appropriate
"testing; vocational study at local community colleges or in business concurrent
with their study at the Institute. A placement office for both part-time jobs during
school and full-time work after graduation
has been established.
Details of the new program are available
by writing to Helen Fried, Development
and Public Relations Office, San Francisco
Art Institute, 800 Chestnut Street, San
Francisco, California 94133.
Rainb,,a, l"a!ls
Sun Jar
non-functional pieces with environmental
themes. "Rainbow Falls," pictured, is a
multiple of nine pieces (thrown, slab, and
coil, vividly glazed and raku fired) combined with Plexiglas and mounted on a
wooden base. The total height of the piece
is 26 inches. Also shown is "Sun Jar," 21
inches in height.
T e r s t e e g received his M.F.A. from
Southern Illinois University, Edwardsville,
and is presently an instructor of ceramics
at Keystone Junior College, La Plume,
Pennsylvania. His work has been exhibited
in Midwest and Eastern shows and in Ceramics International '73 in Canada.
CERAMIC LEAGUE OF M I A M I
The Ceramic League o[ Miami (Florida)
recently sponsored a three-day workshop
on porcelain and whiteware conducted by
Don Penny (pictured). During the session, Penny gave throwing demonstrations
and discussed special problems that could
occur in the forming, drying, glazing, and
firin~ of porcelain, a, well a~ clay body
HAYSTACK AT ARCOSANTI
Rima.~ I i,~.:~d..
minutes, 20 seconds by Rimas VisGirda
(pictured) currently at Millikin University.
Pentathalon: A speed event of time necessary to I. throw and attach handles to
five cups (1 pound each); weight in next
four categories limited to 5 pounds e a c h - 2. throw and attach handles to five pitchers; 3. throw five plates; 4. throw five
bowls; and 5. throw five jars and lids.
Record set at 57 minutes, 10 seconds by
Arnie Zimmerman, instructor at the Kansas
City Art Institute. Also pictured is Arnie
Zimmerman providing commentary while
Glenn Barnett labors in the 50-cup event.
SUMMER WORKSHOPS
The annual Summer Workshop listings
will be published in the April issue of
Activity in crafts will be integrated in
the environmental project at the Arcosanti
building site at Cordes Junction, Arizona,
in conjunction with the Haystack Mountain School o[ Crafts, under the direction
of Paolo Soleri. Two 4-week sessions will
operate from March 17 to April 11, and
from April 14 to May 9. The registration
will be limited to ten people per section.
The two sessions will include ceramics,
metals, and textiles--teachers and associates for ceramics: Ron Garfinkel, Starr
Sutherland, and Richard Johnson; for metals: Rick Cronin; for weaving: Melissa
Gar/inkel and Ferne ]acobs.
Applications for workshops are being accepted from any interested person over 18
years of age. Ability level may range from
beginner to advanced professional. Priority
of acceptance will be given to applications
received before February 15. Write: Cosanti
Foundation, 6433 Doubletree Road, Seottsdale, Arizona 85253.
Donald Penny
and glaze formulas. A discussion of Penny's
firing results was a feature of the porcelain
and whiteware workshop.
A highlight of the event was a slide presentation on Nigeria where Don Penny
recently worked for a year. It covered the
people, their customs, and their pottery
which showed the survival of the simplicity
of form, in addition to the unusual colors
obtained in their primitive firings.
Continued on Page 55
February
1975
53
~qq
r
-)iscriminating Ceramists Need a
Model A-99B
"A- Exclusive 1 inch insulation in lid and bottom.
"k 27" deep x 23 3/8" diameter - 7 cubic feet - 10 sided.
¢r Fires to cone 6 - 2300°F. - f a s t t~eating and cooling.
3 moveable sections - separate controls and pilot lights.
~r
Stainless Steel construction.
Fires everything from china to porcelain - daily - A must
for those tall pieces that won't fit anywhere else.
"k
DAWSON Automatic Kiln Sitter installed at Paragon,
~r Convenient Credit Terms available.
See your local Paragon Dealer or
write for our latest catalog
listing over 30 models.
~ ~
The
The
The
The
The
B&I
B&I
B&I
B&I
B&I
wheel
wheel
wheel
wheel
wheel
Industries, Inc.
is BASIC for beginning potters.
is RUGGED for student potters.
is COMPACT for studio potters.
is PRECISE for skilled potters.
is ECONOMICAL for all potters.
m
Dept. cm, Box 10133, Dallas, Texas 75207
most popular ceramic
oxides in color-mat ched
screw top conta,ner s
101 PROFESSIONAL
CI A7F FflRMIII A~
New design with compact
bench and padded vinyl
seat. 12" masonite bats
included. ¼ hp motor, 38-150 rpm.
Fully guaranteed
~
Write for a free color brochure.
earth treasures
DEPT. C • BOX 1267. GALEBBURG,ILLINOI8 61401
54
Ceramics Monthly
N
~
brochure
l
"
~t ~
~
s..d ,0, ~
ind
~
"
f
°
~ll
~
/
~
CLAY BODIES & SLIPS
r
schoot
..d
CERAMACTIVITIES
Continued /rein Page 53
studio!
ART FACULTY SHOW AT UNIVERSITY OF UTAH
Ill
JLIII
Ff,~.f
[ t I Ill Let the Walker Pug Mill
mix
~jl Iql~arCl+lE,,m,n~*odr+~
,
,,.of
s,tlsfied . . . . +~.~
~'I " ~
<-~'~'ffort
,
sa,,+ time for creative
and instruction
REPAIR POTTERY INVISIBLY!
Clay or Bisque stage
Breakage is no longer a calamity! High-temp.
" A l u m i d e " cement lets you put it all together
beautifully . . . undetectably| Receives glazes.
Money-back guarantee. Kit ~ 5 0 (approx. 1~'3
oz. liquld, 1V3 oz. powder] $3.95 plus 50c
postage & handling. (U.S.A. orders.] Connecticut residents add 6% sales tax. Check/
Money Order. Specify "Ceramic" or "Stone-
The University o/ Utah (Salt Lake City)
held its Annual Art Faculty Exhibition at
the University's Museum of Fine Arts in
late fall. Ceramics
exhibited by Dorothy Bearnson reflected the traditional heritage of
the potter's craft
and emphasized
form a n d special
glaze effects. Some
of her pieces are
pictured.
Nine
pieces of c u r r e n t
Marilyn Levine
work by Marilyn
Levine were included in the exhibit, two of
which are s]lox,n: "Blue Jacket," and
FULWELL PARK CERAMICS
CT. 06492
Dorothy
95 BARTLEY RD.
FLANDERS, NEW JERSEY 07836
Bcarnson
"Brown Suitcase." Her sculpture may be
classified in the category of new photorealism, his. Levine has prepared a slide
m
~
m
•
m
•
•
.
Maril)n
12"Aluminum Wheel Heads
$21.50 Ppd.
Calif. residents add 6*/, sales tax
Send Checkor MoneyOrderto:
G&L IndustriesLtd.
P.0. Box11892 • Fresno,Ca. 93775
DECALS
very
best
Please send $1.00 plus 25¢
postage, for your complete decal catalog including application and firing instructions.
C e r a m i C o r n e r , Inc.
P. O. Box 516, Azusa. Calif. 91702
Nearly a Quarter of a Century
of Quality... For Those Who
Dema.d the Very Best.
!
O H I O C E R A M I C SUPPLY
P. O. BOX 63O
KENT, O H I O 44240
216/296-3815
the
White, Terra Cotta
Buff, Red and Brown
High and Low
firing temperatures
WHEELS AND KILNS IN STOCK
AT ALL TIMES
ware."
Box 295CMM, Wallincjford.
STONEWARE
EARTH ENWARE
PORCELAIN
l., : ~.,
series illustrating her method of working
which she has presented at various schools,
colleges, and workshops.
CRAFTALLIANCEGALLERY
AND EDUCATIONCENTER
Organized more than ten years ago, the
Craft Alliance Gallery, St. Louis, Missouri,
promotes the work and reputation of its
member craftsmen as well as introducing
exhibits of work by leading artists in the
United States; at the same time it fulfills
the function of setting and maintaining a
standard of excellence for the crafts, with
Dorothy Farley as director. Presently more
than 60 juried members residing in 16
states use the gallery as an area showcase
for their work. The current exhibition,
which opens February 2, will feature stoneware by Ed McEndar[er and weavings by
Libbie Crawford, both Missouri artists.
Closing date for the exhibit is February 26.
In conjunction with the Gallery, tile
Crafts Alliance Education Center provides
the general public the opportunity to par-
$230.00 F,O.B Crestline, Ohio
FEATURES:
= 30" x 30" x S", 14 ga. rust-proofed
steel pan • 13" cast iron throwlncj head.
• 100 lb. 20" flywheel u Height - - 36"
• Trim bar for foot rimming • Constructed of IVz" x 11/2" x 3/16" angle
iron. u All seven points of action are
precision ball bearincj. • Handsome hammer finished pan with black stand • Hip
rest [non-adiustable}.
H. B. KLOP,F E S IN & SONS
Continued on Page 57
February 1975
55
Virginia Ceramists present
the 5th Annual
HOBBY SHOW
March 14, 15, 16, 1975
State Fairgrounds, Richmond, Virginia
Competition for the hobbyist
Free demonstrations, door prizes, molds, supplies
Show Hours :
Fri., Sat. 12:00 Noon to 9:00 P.M.
Sunday
1:00 P.M. to 6:00 P.M.
The OMNI
Potter's Wheel
A professional, industrial-quality
potter's wheel ideally suited
for all potting techniques.
$275.oo
Write for Technical information.
Omnl Projects
823 Rorke Way, Palo Alto, CA 94303
L _
56
.
.
.
.
Ceramics Monthly
-
- -
-
-
-
REWARD CERAMIC COLOR MFRS.
314 Hammond= Ferry Road, Glen Burnie, Md. 21061
/~~~
"sC'~'A"~F~s'4t~ Distributors of:
THE SALEM
SHIMPORK-2
ANDSPINNING TIGER
kickwheels, L&L kilns, Leclerc
looms, Kemper tools, our own
clay bodies, leather thongs,
teapot handles, cork, spigots
and sponges. Write for brochure
3AI]I~ PLACE ~
IvKXCIEIA~N[ g~43
MAC SPONGESALES
Elephant Ear, Wool & Silk Sponges--Chamois.
Write for catalogue.
CERAMACTIVITIES
Continued [rom Page 55
ticipate in classes conducted by qualified
craftsmen, and provides area artists and
craftsmen with a meeting place and forum
for the exchange of ideas.
The appointment of Elena Canavier as
Crafts Coordinator in the Visual Arts Program of the National Endowment [or the
Arts has been announced by Nancy Hanks,
chairman of the Endowment. Ms. Canavier
replaces Sandra Zimmerman who is now
a~sociated with a New York advertising firm.
Elena C a n a v i e r
attended ]epson Art
Institute, the Uni-
versity o( Southern
Cali[ornia, and the
Cali[ornia State
University at Long
351 W. Forest Ave., Reselie. III. 60172
Shimpo-West •
Walker Jamar
Brent.
•
Skutt
Kemper
Creek Pottery
Distinctive Stoneware
Proven in studio
equipment
Serving Kentucky, Tennessee,
Indiana & Ohio
(502) 245-1282
Delivery anywhere
P.O. Box 23162, Anchorage. Ky. 40223
Prices on request *
Beach where she
earned an M.A. in
art history in 1970.
As a painter, printmaker, and ceramElena C'ana:i,,
ist, her work has
been shown in group shows, one-man exhibitions, and is represented in public and
private collections. She served as a consultant to art galleries, and taught at California State University, Long Beach, as
well as the Chouinard Art School o[ the
Cali[ornia Institute o( the Arts, Los Angeles. She has published a syndicated art
review column for the American Publishing
Company; written for art periodicals, ineluding CERAMICS MONTHLY; and she will
continue as a contributing editor of Artweek.
Qualify Names in
CERAMIC EQUIPMENT
CRESS, JEN - KEN,
SKU]7" (kilns),
SHIMPO, BRENT, ESTRIN (wheels); and
WALKER PUG MILL, SOLDNER CLAY
MIXER, KEMPER (tools), AMACO Deal-
er. Plus a broad selection of highest qualify Southern clays, supplies.
Clay Sample $1.00
Catalog S0 cents
HELEN BENNETT
S T O N E W A R E POTTER
P.O. Box 8496, Orlando, Florida 32806
(305) 898-7446
EVERYTHING
FOR THE POTTER!
CLAYS
CHEMICALS
KILNS • WHEELS
DRY GLAZES
...
Much, Much
More
Catalog $1, Free to Institutions
L& R
SpEciA|TiES
101 W. Mr. Vernon, P.O. Box 309
Nixa, Mo. 65714 (417) 725-3506
earthworks
of rochester
ELENA CANAVIER NEW CRAFTS COORDINATOR
OF THE NATIONAL ENDOWMENT FOR THE ARTS
Elena Canavier will supervise the National Endowment's crafts support program
- - n o w in its third year--which is expected
to provide grants totaling $500,000 in 1975.
Clay, metal, fiber, wood, and glass are
among the media encompassed by the program. Individual fellowships in the amount
of $5,000 each ($2,000 more than in 1974)
will be given to individual craftsmen of
outstanding talent; professional craft workshops; craftsmen-in-residence; and to special projects such as craft exhibitions and
services. More information on the program
may be obtained by writing Elena Canavier, Crafts Coordinator, National Endowment for the Arts, Washington, D.C. 20506.
The National Endowment for the Arts is
an agency of the Federal Government,
created by Congress in 1965 to develop and
encourage America's cultural resources, and
is advised by 26 members (appointed by
the President) of the National Council on
120 PLUS
Chemicals & Raw Materials
bulk quantities available
Clay Bodies
stoneware, sculpture, porcelain.
earthenware, cone 6 & [0 flameware
Tools - Scales - Sieves
Kick & Electric Wheels
amaco, brenf, esfr|n, pacifica.
sh|mpo, skutt, soldner
Gas & Electric Kilns
amoco, california, estrin,
paragon, skutt
I & I,
Cloy MIXED TO ORDER
420 merchants road
rochester, n.y. 14609
716/288.40S0
POTTER'S
WORLD
~ ~
The South's 25th
year of service of
Pottery a n d Ceramics Equipment.
We offer clays,
chemicals, t r i t s
tools,
scales,
corks
tea pot
handles b o o k s,
scu pture tools.
!
~~-
~-; : i ~
_
~
W
WHEELS: Brent, Shimpo, Max, Randall,
Menco Spinning Tiger, ARCO
KILNS: (Gas) Unique and Thermo-Lita IElectric) L&L Econo-Kiln. Walker-Jamar PUG MILL
Full line of copper ename[ing kilns and sup-
plies. Molds for glass slumping (85 designs).
Glass stains (Kiln fired) G(ass bubble. Laminates.
POTTER'S WORLD
4930 Distribution Dr., Tampa, FL 33619
(813) 247-2408
OR in Sarasota
4132 N. Tamiami Trail, Sarasota, FL 33580
(813) 355-6721
the Arts.
DENNIS PARKS IS ARTIST-IN-RESIDENCE
AT COLLEGE OF IDAHO
The College o( Idaho in Caldwell has
announced the appointment of Dennis
Parks as artist-in-residence from January 6February 14. In this capacity he has been
furnished with a studio where he is conducting his work and at the same time being
Continued on Page 59
February 1975
57
OBJECTS: USA
by Lee Nordness. A superb publication featuring over 250 artist/craftsmen working in
ceramics and other media. Includes a photo
of each craftsmen, a brief biography, and
$16.95
an example of his work.
• R e c o m m e n d e d books on ceramics from
BOOK DEPARTMENT
CERAMICS FOR THE ARTIST POTTER
by F. H. Norton. The most complete book
on the subject, from choosing the proper
clay to puffing the final touches on a piece,
$10.75
all clearly explained.
4"
M O N T H L Y
ORDER ANY OF THESE SELECT TITLES
ON OUR MONEY.BACK GUARANTEE. WE PAY POSTAGE
NATURE AS DESIGNER
by Bertel Bauer. This unusual and stimulating
book presents a treasured collection of plant
life. The forms will suggest an infinite
number of shapes and textures for pottery.
$14.95
An outstanding glft selection.
MAKING POTTERY WITHOUT A WHEEL
by F. Carlton Ball and Jan;ca Lovoos. This
richly illustrated book covers every phase
of handbuildin9 and decorating clay pieces.
No book covers the subject of texture and
form so effectively. It is a book every
$10.95
teacher should have.
EXPERIMENTAL TECHNIQUES IN ENAMELING
by Fred Ball. Beginning with essential information on materials and basic techniques,
this exciting book progresses to new processes wlfh explicit instructions and abundant
illustrations. A notable addition to the exist$9.95
ing literature.
FINDING ONE'S WAY WITH CLAY
by Paulus Berensohn. This unique book often
a new approach to making pots. It is a
clear, readable, and definitive book on
making pots using the pinch method. $9.95
PIONEER POTTERY
by Michael Cardew. The main purpose of
this book is to help craftsmen who want to
make pottery using natural materials without depending on customary sources of
supply. Covers clays, glazes, kilns. $15.00
CERAMIC FORMULAS:
THE COMPLETE COMPENDIUM
by John W. Conrad. This new text contains
over 70G tested formulas for clay bodies and
glazes in all firing ranges. Features special
$10.95
coded color charts.
POTTERY WORKSHOP
by Charles Counts. A complete sfudlo-workshop manual which guides the apprenticereader from clay to kiln in 250 step-by-step
photos. WriHen by a master craftsman, if
will serve as an inspiration and guide for
$8.95
all students of pottery.
DESIGN MOTIFS OF ANCIENT MEXICO
by Jorge Enciso. A compilation of 766 examples divided into geometric, natural and
artificial forms. Includes designs based on
flowers, birds, fish, etc. 170 pages. $2.50
by Robert Fournier. This work is exhaustive
in scope and de:all. There are nearly 1200
entries which are listed alphabetically, and
$12.50
over 450 illustrations.
STEP-BY-STEP CERAMICS
by Jolyon Hofsted. A complete introduction
to ceramics.I There ere special sections on
the Potter's Wheel, Glazing, Firing a Kiln,
Building Your Own Kiln, and Raku. $2.95
HANDBOOK OF DESIGNS AND DEVICES
by Clarence Hornung. Over 1800 sketches
of basic designs and variations including the
circle, llne, scroll, fret, shield, snow crystals
$2.00
and many more useful symbols.
CERAMIC DESIGN
by John B. Kenny. Complete instructions for
methods of forming and decorating ware are
given, with step-by-step photos to guide the
$9.95
designer along the way.
[]•]
L_
58
Ceramics Monthly
D
CERAMIC GLAZES
by Cullen W. Permelee. A newly revised
edit;on of one of the standard texts on
glazes. If is a comprehensive study of every
aspect of the subject with clear, concise explanations. An essential reference wifh 612
$18.50
pages of technical information.
RAKU POTTERY
by Robert Piepenburg. This oufsfanding new
text covers all the basic information on raku.
A very practical guide containing instruction on clays, glazes, kilns, firing, and a
$12.95
chapter on safety precautions.
CLAY AND GLAZES FOR THE"POTTER
by Dan;el Rhodes. New, revised, and enlarged edition (1973) covering all the
fundamentals of clays and glazes. $12.50
CERAMIC SCULPTURE
by John B. Kenny. Contains over I000 photos
and sketches covering all phases of the
sculptor's art. A valuable aid for all
$9.95
teachers and craftsmen.
THE COMPLETE BOOK OF
POTTERY MAKING
by John B. Kenny. The "best seller" in the
ceramic field! Step-by-step photo lessons
cover all of the pottery-maklng techniques:
$7.50
clays, glazes, firing, plaster, etc.
KILNS: DESIGN, CONSTRUCTION
& OPERATION
by Daniel Rhodes. Everything you need to
know about kilns - - seffing up, firing, types
is described and demonstrated. $I0.00
L:~
rwi~ PAY P O S T A ~ i ~ i
I
KERAMOS
STONEWARE AND PORCELAIN
by Daniel Rhodes. Describes techniques and
materials used in high-fire poffery. Includes
sections on clay bodies, glazes, colors, tex$7.50
tures and decoration.
A POTTER'S BOOK
RAKU: ART & TECHNIQUE
by Hal Riegger. The first complete book on
Raku. Covers clay and glaze preparation,
kiln building and firing techniques. Beauti$12.95
fully illustrated.
by Franz Kriwanek. All of the basic areas of
ceramic work are covered in this book.
The examples of pottery are impressive.
There is a refreshing treatment of subject
metier that makes the book unique. $5.50
by Bernard Leach. Now in its twelfth American edition, this book should be in the
$12.75
library of every potter.
SELLING YOUR CRAFTS
by Norbert N. Nelson. This book leads you
through the actual stages necessary to sell
successfully what you produce. Covers such
diverse channels of sales as wholesale, retail,
$3.95
mail order and specialty markets.
We Pay Postage
BOOK DEPARTMENT eox 4548, Columbus. Ohio 43212
[ ] Kriwanek--Keramos $5.50
Encis~Dasign $2.50
~ Bager---Nature $14.95
Fournier~Dictlonary $12.50 [ ] Leach~Potter's Book $12.75
Bali--Pottery $10.95
Hofsted--Ceram|cs $2.95 [ ] Nelson~Selling Crafts $3.95
Ball~nameling $9.95
~ Nordness--Obiects $16.95
Hornung--Designs $2.00
[~ Berensohn--Finding$9.95
Norton--Art|st Potter $10.75
Cardew--Pioneer $1S.00 [[~ Kenny~Deslgn $9.95
Olsen~Kiln Book $8.95
Kenny~Sculpture $9.95
B onrad---Formulas$10.95
Parmetee---Glazes$18.50
]
[
$7.50
Kenny--Poflary
]
[
$8.95
Counts---Workshop
~ Piepenburg~Raku$12t75
Rhodes~lay & Glazes SI2.S0
F~F]Rhodes---Kilns $10.00
NAME
RhodesmStoneware$7.B0
[ ] Rleggar~Raku $12.95
~ Rottger---Creatlve Clay $5.95
ADDRESS
Sanders---Japanese$17.50
~ Sunset ,ditors--Ceramics S1-gS
zip
STATE
CITY
Wildenhaln~Pottery $9.95
I enclose [ ] Chuck [ ] Money Order
(Ohio residents: add 4% Sales-Tax)
Order Form
THE KILN BOOK
by Frederick I. OIsen. Covers in detail
both the technical and aesthetic aspects
of kiln construction and firing. Wr;ffen in
a style that is easy to follow and informa$8.95
tively illustrated. Paperback.
ILLUSTRATED DICTIONARY
OF PRACTICALPOTTERY
1
I
I
|
I
I
I
I
I
I
I
CREATIVE CLAY DESIGN
by Ernst RoHger. A wonderful aid to those
who are learning and those who are teaching others how to explore the creative
$5.95
possibilities of clay.
THE WORLD OF JAPANESE CERAMICS
by Herbert Sanders. This handsome book
illustrates the forming and decorating processes and the unique tools usecl by the
potters of Japan. Includes glaze formulas,
color charts, and American equivalents of
$17.50
Japanese glaze compositions.
CERAMICS
by the editors of Sunset magazine. An excellent new text for beginners and those
teaching beginners. Well-planned projects
carry the reader through basic handbuilding
and throwing techniques using a minimum of
$1.95
tools and equipment.
POTTERY: FORM AND EXPRESSION
by Marguerite Wildenhain. A truly beautiful
book! Magnificent pictures of the author at
work and of ancient and contemporary pottery. An outstanding gift selection. $9.95
HO. 13
CATALOG
CERAMACTIVITIES
Continued [rom Page 57
$1.00
available for questions from ceramics students. Parks is on t e m p o r a r y leave from
his position as instructor at the Tuscarora
Pottery School, T u s c a r o r a , Nevada.
C a t a l o g Sent Free
To Schools & Institutions
FIRST MOUNTAIN CRAFTERS OF NEW JERSEY
VAN HOWE CERAMIC SUPPLY CO.
11975 E. 40th, Denver, Colorado 80239
M o r e t h a n I00 artists a n d c r a f t s m e n
f r o m N e w Jersey participated in " C r a f t
Evolution '74," a n a n n u a l exhibition a n d
sale sponsored by the First Mountain
Cra[ters o[ New .lersey at the Kean College
Good Earth
CLAYS
Send f o r price & p r o d u c t list.
Clays, chemicals, refractories
6 moist clay bodies
15 dry clays
30S4 Southwest Boulevard
Kansas C i t y , Missouri 64108
A / C 816-$61-4437
Gare is dressed to kiln
Pat Gaby
Evelyn Simpson
Union on D e c e m b e r 7-8. T h e First M o u n tain Crafters, a non-profit organization,
was f o u n d e d in 1956 by five craftsmen
living within t h e First M o u n t a i n R e g i o n
of the O r a n g e s in N e w Jersey. T h e organization n o w has m o r e t h a n I00 active
n w m h e r s dedicated to e n c o u r a g e a n d sus-
NEW
1975 CATALOG
" RAW MATERIALS
• BLENDED & BASIC CLAYS
• FRITS AND GLAZE STAINS
• LEAD FREE CERAMIC GLAZES
•
•
•
•
•
SPONGES, HANDLES & BRUSHES
MOROCCAN SAND GLAZES
KEMPER TOOLS
OHAUS SCALES
CORKS 11/2"-6"
• KILN ACCESSORIES
• OSCAR PAUL & SKUTT WHEELS
• LOCKERBIE KICK WHEELS
• SHIMPO WHEELS
C o m p l e t e 60 Page C a t a l o g
"Try us for those
hard-to.find items."
CATALOG S1.00
IFree To Schools & Institutions)
• . . in stainless steel jackets and a 2-year
factory wazranty on electrical components.
Check Gare's net prices before you make your
next kiln purchase and make a killing.
Gare Ceramic Supply Co., Inc.
P.O. Box 830, Haverhill, Mass. 01830
POTTERS' WHEELS
We stock and sell the lead;m] potters' wheels
--LOCKERBIE ROBERT BRENT OSCAR PAUL
SH MPO-WEST, SPINNING 'TGER~wheels
to fit every need and budget. Send large
stamped addressed envelope for brochures.
C A P I T A L C E R A M I C S , I N C . Phone (801)
466-6471
2174 South Main St.
466-6420
Salt Lake City, Utah 84115
1
Debolah A'~Hght
L 6, L K I L N S
• . . the most complete
MANUFACTURERS
line!
The only kilns with patented DYNA-GLOW
element holders. Write for information.
L and L MANUFACTURING CO., Box 348
144 Conchester Rd., Twin Oaks, Pa. 19104
KRAFT KORNER
"Aristocrat of Crafts"
New Catalogue $2.00
10% discount with first $10.00 order or more
Complete line of supplies for:
Decoupage Maerame BeadedFlowers Pant ng
Leaded Glass Tale Painting Enameling Silver~mithing
Marge Wennerstrom
Phone:
5864 Mayfield Road, Cleveland, Ohio 44124
442-1020
hV K
&
CERAMIC
SCULPTURE
SUPPLIES
CLAY • GLAZES • WHEELS
KILNS • RAW MATERIALS
RICHLAND CERAMICS, inc.
7124 Monticello Blvd., Columbia, S. C. 29203
rain interest in crafts; uphold h i g h ideals
in all craft activities; a n d to m o t i v a t e participation a n d s u p p o r t of students with
exceptional abilities in craft media.
Some of the work in the recent show
is pictured: " T r e e Pot" by Evelyn Simpson; a n d pots (slab-constructed with
wheel-thrown tops) by Pat G a b y ; the
cylinder on the left is 17 inches in height.
Also s h o w n is a close-up of the Pottery
Shop m a d e by D e b o r a h M c K n i g h t w h o
does only pottery miniatures.
INVITATIONAL AT HUNTERDON ART CENTER
Entitled "A Special Exhibition," a n invitational show was selected a n d installed
at the Hunterdon Art Center, Clinton,
New Jersey, by Toshiko Takaezu, A r t Center trustee. T h e artists participating in the
N o v e m b e r show were Harvey Littleton-blown glass; Bruno LaVerdiere---ceramic
sculpture; Eleanor Moty--photo-electroplated m e t a l s ; a n d Lenore Tawney--linen
forms a n d collages• I n c o n j u n c t i o n with
Continued on Page 61
ii
~ !!i!~
6,
r/,IR
• Ceramic Cla~s for the discriminating Potter
19/5 CATALOG $1.1~
10016
Please Mention C M
when w r i t i n g our a d v e r t i s e r s
Wanted: FULL OR PART-TIME POTTERS
to make basic pottery in our Columbus,
Ohio area studio or in your own studio.
For details, write su associates, 8237
Copperfield Dr., Worthington, Ohio 43085
(614) 888-9747. ALSO--we're looking for
good used studio equipment.
February 1975 59
gmgfig° era
)ec
Amaco has been a leading
manufacturer of special Ce~
Decorating Colors for over
These high quality underglaze and overglaze colors for all ceramic decorating are available
in the following mediums: Amaco Liquid Underglaze, Amaco Semi-Moist Underglaze, Amaco Underglaze Crayons, Amaco Underglaze Pencils,
Amaco Semi-Moist Overglaze, Amaco Semi-Moist
Glass and Metal Enamel Colors and Amaco Versa
Colors.
For more information about these fine products,
contact your local Amaco distributor or write:
®
gHg~0American Art ClayCo., Inc." 4717W'estSixteenthStre(
THE
WALRUS
KICKWHEEL
Concerned about the natural gas
and oil shortage?
Start firing electric!
• 150 lb. concrete flywheel.
Frame partially disassembled for shipping
• Kickwheel with form for
casting flywheel
We have SKUTT kilns (all models) and
potter's wheels on hand for immediate
delivery. Call or write for prices and information.
• Unique metal kit with
plans for building frame
Send $1.00 now for your copy of the Harris Linden catalog
(Catalog sent FREE to Schools and Institutlonsl
DEALER INQUIRIES INVITED
.......
....... '~ ~:=
WALRUS WOODWORKING
16 E m i l y St., C a m b r i d g e , Ma. 02139
617-864-7112
Custom and Production Woodworki~£
60 Ceramics Monthly
Harris Linden Ceramics
1772 Genessee Avenue, Columbus, Ohio 43211
Phone: (614) 267-5385
1
SPRING • SUMMER • FALL /
If D U N C A N
Live-In Workshops
manufactures or
CERAMACTIVITIES
Continued [rom Page 59
publishes i t . . .
WE stock it/
the exhibition, Lenore Tawney presented
a slide lecture about her work.
CRAFTSMEN INVITATIONAL AT SOUTHEASTERN
CENTER FOR CONTEMFORARY ART
Glozes
E-Z FLOW . . . . . . . . . . . . .
Molds
SM & DM . . . . . . . . . . . . . .
COVER COAT . . . . . Underglaze
E-Z S T R O K E . . . . . .
BISQ-STAINS...
Transparent
Underglaze
Unfired
Stains
BRUSHES
Joy Reid Catalog . . . . . . . . . . . . . .
Duncan Catalog . . . . . . . . . . . . . . . .
CeramiCorner Decal Catalog . . . .
Glass Decal Catalog . . . . . . . . . . .
plus 25c ea. Postage
I
Special One Week Workshops
Wayne Higby • Toshiko Takaezu
. . . . . . . . , ..........:............... ::.~
$1.00
$1.50
$1.00
$ .50
Ileramic Studio
P.O. Box S367
2016 N. Telegraph (US-24]
Phone LO 1-0119
Dearborn, Mich. 48128 •
The Southeastern Center /or Contemporary Art (formerly the Gallery o[ Contemporary Art) Io,
cated in Winston+-'
z•
Salem, North Car~,
olina presented its
a n n u a l Craftsmen
Invitational Exhlbit;on in December.
~
In its sixth year,
~
this major regional
.... ........
.....
exhibition featured
~ some of the out•
standing crafts beJim CantreU
ing produced in the Southeastern United
States today. Sixty regional craftsmen were
represented, with half that number working
in clay. Ceramists from North Carolina inWilliam
cluded
Brown, Clyde Gobble, Sally Prange,
Jane Seville, Eddie
S m i t h , Charles
Chamberlain, Tom
Mason, Larry Anderson, Sue Anderson, Phil Pollet,
Lee Magdanz, Carol Ann Zinn, Morgan Davies, Hiroshi
Sueyoshi, and Herb Ron Garlinkel
Cohen; from Tennessee: Frances Taylor~
El.!er Tayl,,r, arid Dale Baucum: from
:i N i
BIG CREEK POTTERY
Davenport. California 95017
~CASTLE HILL
~
_
SUMMERWORKSHOP
IN RAKU
CERAMIC SCULPTURE
PRIMITIVE FIRING
TRURO CENTER FOR THE ART~
plus CLAY TECTONICS - - Other crafts and fine
arts. A summer ex:perience on Cape Codl
TRURO CENTER FOR THE ARTS, Joyce Johnson.
Dir. Write for brochure: Castle Rood, Traro,
Moss. 02666 Tel. 617-349.3714
1000 ISLANDSMUSEUM
CRAFT
CLAYTON,13624N.Y.
SCHOOL
Bcd'ik China Painting
Design Dyeing
June 23
Early American Decoration
fo
Enameling Jewelry
Lapidary Leather
O c t . 31
O i l Painting Watercolor
Pottery
Glass Painting
1975
Stained Glass
Sculpture
Woodcorving
Weaving
For further information write to:
EMILY POST, Director, CM-2
10 Eoudinot Street, Princeton, N.J. 08540
After June 1st to:
1000 ISLANDS MUSEUM CRAFT SCHOOL
CLAYTON, 1000 ISLANDS, N.Y. 13624
,n.
J
I
BRAY
ARCHIE
I~l
FOUNDATION
SESSION
'SUMMER
Ceramics and Glassblowing
2915 C o u n t r y C l u b A v e n u e - Helena. M o n t a n a
1
.O,
Opus Summer
59601
--
Workshops
in the foothills of the Rockies
Sally l'rangc
Georgia: Marianne Weinberg, Carlton Allsop, and Jerry Chappelle; from South
Carolina: Tom Turner, John Davis, James
]. Davis, and Don Lewis; Joe Monk, Virginia: ]im CantrelI, Kentucky; ]oe Bova
& INSTRUCTION BOOK
With this Calculator, you
can formulate or modify glazes
in minutes. Eliminates wasteful
trial and error, giving students
and professional potters a better
working knowledge of glaze
theory and design.
Order direct.
Add 6% sales tax in Calif. C a r ~ d a add 50¢.
Pottery - Wafer Colors
Drawing - Creative Writing
Total live.in facilities.
OPUS FOUNDATION CORPORATION
Box 200
Sedolia, Colorado 80135
W A N T E D Teachers, college students as
counselors in Pennsylvania childrens' camp.
Ceramics, pioneering, land and water
sports. College varsity sports members
given special consideration. Art Lusfig.
8 Richard Dr., Short Hills, N.J. 07078
William ll~(~:zn
Louisiana; Karyn Kozak, Illinois; and
Ron Gar/inkel, Maine.
Works from the exhibition are pictured:
decorated porcelain by Sally Prange; stoneContinued on Page 62
POTTERS W A N T E D
for
Production Wheel Work
AXNER POTTERY
2221 Gillis Cf., Maitland, FL. 32751
February 1975
61
Summer
ARTISTS-IN-RESIDENCE
Workshops in
• Ceramics
• Figure Drawing
• Painting
INDIVIDUALIZED INSTRUCTION
for experienced artists and
beginners with minimum experience
June 15-27, 1975
Mont Alto Campus
THE
PENNSYLVANIASTATE
UNIVERSITY
For further information: Clyde. J. Johnson,
Assistant Director for Continuing EducahOn
Mont Alto Co~p~i 749-31Mont
lAIt°'l Pa. 17237
Please Menfion CM
when wriflng our adverfisers
Index to Advertisers
February 1975
CERAMACTIVITIES
Continued from Page 61
ware by Jim Cantrell; salt-glazed platter
from "Cloud Series" by Ron Garfinkel;
and several pieces by William Brown.
Photos: Timothy B. Smith.
RENWICK GALLERY PRESENTS
FIGURE AND FANTASY
The exhibition, "Figure and Fantasy,"
which opened at the Renwick Gallery,
Washington, D.C. on October 5, is de-~ voted to the work
of six East Coast
artists w h o
their
express
fantasy
con-
cepts in c o n t e m p o rary
each
techniques,
in a different
medium.
All of t h e
48 works
in t h e ex-
hibit w e r e
in
the
years,
created
past
with
few
many
Bill ~t,:,art
completed especially for the current showing, by Michelle
Gamm Clifton, Ivan Danziger, Norman
Laliberte, Christopher Ray, Tommy Simpson, and Bill Stewart. Presently an associate
professor of art at State University College
in Brockport, New York, Stewart is represented by twelve glazed earthenware objects
including "Perry Penguin Back from Fishing," (pictured) 18 inches in height. T h e
show continues at the Renwick t h r o u g h
F e b r u a r y 9. Photo: Renwick Gallery.
RACHEL ROSENTHAL SCULPTURE
AT GRANDVIEW GALLERY
Rachel Rosenthal showed stoneware
sculptures in a solo exhibition at the Grandview Gallery in Los Angeles, California
during the month of November 1974. Her
pieces are coil-built of dark brown clay
fired to Cone 9. Heavy reduction gives the
THE HINCKLEYSUMMERSCHOOLOF CRAFTS
BOX K, Hlnckley, Maine 04944
Council Grove
Craft School
A l l C r a f t s Offered
A s u m m e r craft school offering a
community of serious a r t i s t / c r a f t s men, both professional and students,
working t o g e t h e r in a creative
atmosphere. Located in the majestic
setting of the Western Montana
Mountains - - nationally-known staff
of visiting artists. Write for information: Route 2 Mullah Road.
M i s s o u l a , M o n t a n a 59801
62
Ceramics M o n t h l y
57
44
American
A r t Clay C o ..................... 60
Axner Pottery ............................. 61
Bellman, W . $. C o ......................... 13
Bennett, H e l e n ............................ 57
B e r g e n Arts & Crafts ..................... 47
Big Creek Pottery ......................... 61
Bluebird M a n u f a c t u r i n g C O . . . . . . . . . . . . . . . . . 47
Bray, Archie, Foundation .................. 61
Brent, Robert, C o m p a n y .............. Cover 3
Bug Town
Clay ........................... 44
B y r n e Ceramics ............................ 55
California Kiln C o ......................... 11
Campbell, G i l m o u r .................... Cover 4
Capital Ceramics ........................... 59
C e r a m i c Scope ............................. 49
CoramiCorner, Inc .......................... 55
C h e s a p e a k e Potters, Ine .................... 54
Clay People ................................ 45
C o n w a y W h e e l s ............................ 48
Council G r o v e Craft School ................ 62
Creative Industries ......................... 10
Creek-Turn ................................. . 44
Crusader Industries ........................ 3
D a w s o n , W . P ............................. 45
Dial-A-Glaze ................................ 61
D u n c a n C e r a m i c Products .................. 52
Eagle C e r a m i c s ............................ 45
Earth Treasures ........................... 54
E a r t h w o r k s of Rochester ................... 57
F o r m i n g C o m p a n y .......................... 13
Francoise Ceramics ........................ 4.1
Fulwell P a r k Ceramics ..................... 55
G & L Industries ........................ 7, 55
C a r e C e r a m i c Supply ...................... 59
Geil Kilns ................................ .. 15
G o o d E a r t h Clays .......................... 59
Harris Linden Ceramics .................... 60
H a u g e n M f g . C O ........................... 47
Hinckley School of Crafts .................. 62
Hiro Distributors ........................... 50
Industrial Minerals C O ...................... 48
Iron Star Potters .......................... 46
Jacquelyn
Ceramic
Art,
Inc . . . . . . . . . . . . . . . 11
K e m p e r M f g . C o ......................... 5, 50
Kleckner S u p p l y C o ........................ 45
Klopfenstein,rH. B. & Sons . . . . . . . . . . . . . . . .
Kraft Korne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
L & L Mfg. Co. . . . . . . . . . . . . . . . . . . . . . . . . . . .
L & R Specialties . . . . . . . . . . . . . . . . . . . . . . . . .
Leslie Ceramics Supply Co. . . . . . . . . . . . . . . . .
Lustig, Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
M a c S p o n g e Sales . . . . . . . . . . . . . . . . . . . . . . . . . .
5~
59
57
49
61
zo~
M a x C o r p ............................... ... 44
M a y c o Colors .............................. 8
M e n c o Engineers ........................... 9
Miller Ceramics Inc . . . . . . . . . . . . . . . . . . . . . . . 15
M i n n e s o t a Clay C o ......................... II
Ohio C e r a m i c S u p p l y ....................... 55
O m n i Projects ............................. 56
O p u s Foundation ........................... 61
O r t o n C e r a m i c Foundation ................. 51
Oscar-Paul C o r p ........................... 46
O w l Creek Pottery ......................... 57
CERAMICS
•
WEAVING
JEWELRY
•
PHOTOGRAPHY
GLASS B L O W I N G • LEATHER
FABRIC D E C O R A T I O N
G R A P H I C S • FOUNDRY • W O O D
Our sevent~n summer offering 4~vo 3-week sessions to high school students ages 14-18 years
old. Operated by The Hinck|ey School.
For information write
A-1 Kiln Mfrs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Aegean Sponge Co . . . . . . . . . . . . . . . . . . . . . . . . . .
Alpine, A.D., Ine .......................... 4
Rachel Rosenthal
pieces a silver-black sheen. The shapes are
simple and abstract, completely covered
with tiny coils, curled around themselves or
extended outward. Completed sizes vary
from 16 inches to 28 inches in height. Pictured is "Gryne," 19~ inches in height
(without base). Rachel Rosenthal has exhibited in many group shows; however, the
November showing was her first one-artlst
exhibition.
An article on Ms. Rosenthal's work,
"Coiled Sculpture," appeared in the March
1974 issue o/ CM.--Ed.
Send news, and photos, i] available, about
people, places, events, or things you think
will be o[ ceramic interest. We will be
happy to consider them /or use in this
column. Direct information to: CeramActivities, CERAMICS MONTHLY, Box 4548,
Columbus, Ohio 43212.
Pacifica Crafts ............................. 14
P a r a g o n Industries ........................ 54
P a r a m o u n t C e r a m i c ........................ 59
P e a c h Valley F a r m Pottery ................. 43
Pennsylvania State University .............. 62
Potter's C o r n e r ........................... 45
Potter's W o r l d ............................ 57
Reid, Joy, C e r a m i c Studio .................. 61
Reward
................................ .....56
Richland Ceramics ......................... 59
R o v i n Ceramics ............................ 13
S a l e m Craftsmen's Guild .................... 57
Scott Creek Pottery ........................ 48
........................... 59
Seeley's C e r a m i c Service ................... 45
S h i m p o A m e r i c a Corporation ............... 12
S h i m p o - W e s t .......................... Cover 2
Skutt C e r a m i c Products .................... 6
su Associates .............................. 59
Superamlcs ................................ . 15
Sculpture H o u s e
T e p p i n g Studio Supply ...................... 49
T h o m p s o n , T h o m a s C., C O .................. 46
T h o u s a n d Islands M u s e u m
.................. 61
Truro Center for the Arts .................. 61
Unique
Kilns
.............................. 51
V a n H o w e C e r a m i c Supply ................. 59
Virginia Ceramists ......................... 56
W a l k e r J a m a r C o .......................... 55
Walrus Woodworking
...................... 60
W a y - C r a f t ................................ . 4g
W e s t b y C e r a m i c Supply .................... 49
W e s t e r n C e r a m i c Supply ................... 50
Wittels Pottery ............................ 43
bor.k to
i
J
!i
r
4
J
133OC1~ O.
The low cost Model A uses the basic parts
of our Model C: the same 12" head and permanently lubricated ball bearings, the same poly-V
drive and the same cast aluminum foot pedal.
The permanent magnet motor is I/3 hp with
electronic speed control, installed in a strong,
durable steel frame table that brings the weight
of the whole wheel down to 40 Ibs. It's heavy
enough to stay put while you throw an honest
25 Ibs. and more, yet light enough to carry
around with ease.
See one at maior ceramic suppliers nationwide
or write for our new 1975 brochure showing our
complete line of wheels and hand building equipment.
por.,t, o r , : f t~Jl'mtd.r, c l o ~ , k i t t y "
126 moll . r t ; r , e e ~
~AA.S
c~d,:'~
,
~
707,4..,3,3- b-567
for HOBBYISTS • SCHOOLS • ART & CRAFT CENTERS • INSTITUTIONS
MODEL E-6 WITH 2 SIDE PANS
MODEL E-6 Only
~15550e
Less Side Pans
• More Powerful
• Ball Bearings
• Easy to Use
• Easy to Clean
• Easy to Store
SPEED VARIES
PORTABLE
With Water Trays
• Clamp on without the use of tools
~ °with
° ~ " I Side Pan
$17300
•
with f o o t pedal smooth as an automobile
.
Carry it with you anywhere
~ owith
0 ~ 2 Side Pens
(as shown)
• Bats fit our hand wheels
• Each student may have own bat and place on hand wheel
without losing center
110 Volt . AC. DC.
ONE YEAR SERVICE WARRANTY
Prices F.O.B. Detroit
See your Dealer or Distributor or write:
GILMOUR
$190O0
•
PANS CAN BE PURCHASED
SEPARATELYTO FIT YOUR
PRESENTE-6 MODEL.
$ 1 7 . 5 0 Each
CAMPBELL
142S8 Maiden, Detroit, Michigan 48213
(313) $68-0S61