ceramics monthly - may 1964...is ideal for professional potters • delivers maximum power at all...

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The OSCAR-PAUL POTTER'S

WHEEL THE O-P WHEEL

is ideal for Colleges and Schools

• Requires only 2 square feet of floor space

= Easy to clean • Noiseless • Top per-

formance at all speeds • Priced right

THE O-P WHEEL

is ideal for Rehabilitation Centers and Hospitals

• Simple to operate • Requires a minimum

of effort • Can be set at any speed and

will maintain that speed • Is easy to move

around

THE O-P WHEEL is ideal for Professional Potters

• Delivers maximum power at all speeds

Is vibrationless • Is responsive

THE O-P WHEEL is ideal for Amateur Potters

Relatively Iow-priced ($27S.00 f.o.b.)~ Is

a handsome piece of equipment a Re-

quires small space * Can be placed any-

where in a house ® Is easy to transport

(weighs 62 Ibs.)

For di~'eet sales, dealerships or any information ~'egarding th ene ~c Osc(tr-Pa~d Potte~"s Wheel, please

write direct to:

_ , :,aL I E

~ ~ . ~ ~ ~ i ; ~I

Line-up of OP WHEELS at UCLA

Opt ional Equipment Avai lable for Model F-IO0

REGISTERING PINS $5.00 per pair STAINLESS STEEL BAND for casting bats on the wheel $7.S0

/ - / !

PROFESSIONAL BANDING WHEEL-.--12" S35.00

PEDESTAL AND PIN [Use your own wheel) $10.95

TRU-FYRE LABORATORIES 5894 Blackwelder St., Dept. C M

i C u l v e r C i t y , C a l i f o r n i a 90231

.... i!,,

You bet Ruth and I are g0in!g to Atlanta...

he Manufacturers Trade Show is

"q really the only show where we can

see al l the manufacturers we want to

See, and have plenty of t ime to dis- ss business.

J Je 0 0 0 0 1 0 0 • 1 6 0 • 0 0 • • 0 • 0 • • • 0 • • • e •

i ".. : " T h e d e m o n s t r a t i o n s and N C A - ~,

• : sponsored seminars are truly out-

standing, and they're geared exclu- •

• s i ve ly to thes tud ioowner , teacherand ; : d istr ibutor.

# "[, ~ p new ideas from past N C M A showsl I

, and it looks like this year's is going I ~k,~ be the best ever ' ' ' )

(Note: Invitations will be sent out this spring to all dealers, teachers and distributors of record. Set July 9-12 aside now for an informative and enjoy- able visit to Atlanta.) For booth information, write Phil Skutt, 2618 S. E. Steele, Portland, Oregon.

NATIONAL CERAMIC TRADE SHOW

A N D C O N F E R E N C E

ATLANTA-JULY 9-12

National Ceramic Manufacturers Association I NCMA member firms that are sponsoring the show: Alberta's Molds • American

529 A m e r i c a n B a n k B u i l d i n g - - Portland, Oregon Beauty • Arnels Molds • Atlantic Mold • Gilmour Campbell • Ceramic Arts

& Crafts • Ceramic Colors • Ceramichrome • Ceramicorner, Inc. • Chad-

Stan Co. • J. J. Cress • W. P. Dawson • Denver Fire Clay Co. • Dobe GIo • Duncan Ceramic Products, Inc. • Evenheat Kiln Co.

Gare Ceramic Supply • Gloss-Matic • Holland Mold, Inc. • Kay Kinney • Jacquelyn • L & L Mfg. Co. • Lorraine Ceramics-Fiesta Colors

Marx Brush Mfg. Co. • Mayco Colors • National Artcraft • Paragon Industries • Pemberton-Neal • Popular Ceramics MaD. • Reward

Ceramic Colors • Skutt & Sons, Inc. • A. Strategos Co. • Vulcan Kilns • Wendell Mfg. Co.

,'v/'av 1964 3

• Underglaze • One-Stroke • Art Glazes • Hesitation • Satina® • Satin Marls • White Drape • Foams • Klay Klutch

• NEW . . . # ! 0 5 Dual Tone Crystal Clear Special Glaze

America's Finest Colors DEALERSHIPS AVAILABLE

See Yonr Nearest Mayco D is t r ibu tor or Wr i t e Us

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Make Al l Your Ceramics Outstanding • Teachers and students get better results with MAYCO COLORS and GLAZES because they're extra-smooth, homogenized for easy appfication. MAYCO COLORS are brilliant, f i r e - proven. MAYCO is your best buy - - and there are dozens of colors to select from!

M A Y C O COLORS 10645 CHANDLER BLVD., NORTH HOLLYWOOD, CALIF.

6~,AS S HOI31LES B~tcrIl~ [ and. risk

NEW INSTRUCTION BOOKLET I N C L U D E S :

• 12 Cut t ing and design pat terns • Full d i rect ions fo r contoured or f l a t - f i r ed

mobiles • Jewel ing with Gem-Enamels • Fir ing and Suspension Assembly

1 5 p a g e s . . • $ 2 . 0 0 p o s t p a i d (within U.S.A.)

Glass Catalog: 50e

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B

Acclaimed Everywhere by Teachers and Professionals for Performance

This Not iona l l y Recognized Power-Dr iven Precision Wheel

only $57.50

Ideal tar school, studio, home use . . . The famous B & I Pottery Maker, first in the field, is still first in value and in pricel Simple operation, rugged construction, with all the versatility required by professional workers! Many buih-in features . . . ADJUSTABLE arm rests; BUILT-IN water container; VARIABLE speed drive; QUIET bronze and babbit bearings; ADJUSTABLE foot-pedal control; UNUSUAL size range• Before you buy, Write B & I . . • get full, free details; Po;nt- by-polnt, we challenge comparison on QUALITY features • . . Our price is still the best in the field! B & I Pottery Maker shipped complete, less motor, f.o.b. factory, Burlington, Wisconsin, for only $57.50.

& I Mfg. Co. Dept. C. Burlington, Wisc. "Originators and Makers of famous g & I GEM MAKERS"

4 Ceramics Monthly

M O N T H L Y

V o l u m e 12, N u m b e r 5 M a y 1964

Le t t e r s to the Edi to r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Answer s to Quest ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

I t i ne r a ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

S u m m e r W o r k s h o p s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Low Fire Glazes ( P a r t 2) by Hal R iegge r _ . . . . . . . . . . . . . 13

F r a n c i n e Del P i e r r e by Doro thy H a g e n Seherev_ . . . . . . . 14

P o t t e r y Shapes by Rober t Eng le . . . . . . . . . . . . . . . . . . . . . 18

Color in Reduct ion Glazes by F. Car l ton Ball . . . . . . . . . . 21

Po t t e ry Banks by Helen Young . . . . . . . . . . . . . . . . . . . . . . . 22

C l a y - a n d - S t r i n g Candles t icks by Didier J o u r n e a u x . . . . . . 24

S u m m e r Session at Idyilwild . . . . . . . . . . . . . . . . . . . . . . . . . 28

A Trad i t i ona l Decora t ion d e m o n s t r a t e d by Marc Bel la i re 30

Enameled S to r age Devices by K a t h e Berl . . . . . . . . . . . . . . 32

Ce ramAct iv i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Sugges t ions f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . . 34

Index to Adve r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

On Our Cover

This month 's cover photograph shows a view from above of a

vase with relief decoration by French potter Francine Del Pierre.

This internationally known ceramic artist works entirely by the

coil method in producing the simple, elegant shapes for which

she is famous. Dorothy Scherer's feature article about Mine.

Del Pierre, her work and her atelier, begins on page 14 of this issue.

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAOER

Business Manager: SPENCER L. DAVXS

Circulation Manager: MARY R U S t L e r

Advisers and Special Contributors: F. Carlton Ball; Marc Bel-

laire; Kathe Berl; Edris Eekhardt ; Zena Holst; John Kenny;

Karl Martz; Ken Smith; Don Wood.

Western Advertising Representative: Joseph Mervish Assoc., 5000

Lankershim Blvd., North Hollywood, Calif. TRiangle 7-7556.

Copyright 1964 Professional Publications, Inc.

C E R A M I C S M O N T H L Y M a y 1964, Vol. 12 - - No. 5. Pub l i shed mon th ly

excep t J u l y & A u g u s t by P ro fe s s iona l Pub l ica t ions , Inc . - - S. L. Dav is ,

P re s . , P . S. E m e r y , Sec.; a t 4175 N. H i g h St ree t , Columbus, Ohio 43214. En t e r ed as second class m a t t e r a t t h e post o f f ice a t A thens , Ohio.

U .S .A. Subsc r ip t ions : One y e a r $6; T w o Yea r s $10; T h r e e Y e a r s $14.

C o p y r i g h t 1964. All r i g h t s reserved . M A N U S C R I P T S and i l lus t ra t ions

dea l i ng w i t h ce r amic a r t ac t iv i t i e s a r e welcome and will be considered for publ icat ion. M a n u s c r i p t s should be typed double-spaced a n d r a n g e

f r o m 500 to 1200 words . Send m a n u s c r i p t s and cor respondence about t h e m

to the Edi tor , C E R A M I C S M O N T H L Y , 4175 N. H i g h S t ree t , Columbus, Ohio 43214.

I M A C C O C E R A M I C CLAYS are prepared from

natural Cal i forn ia clays. The formulas for our wheel

c!ays have been used for over 35 years, always

giving our customers a dependable, uniform clay

body for their ceramics and art work.

The Pyrometr ic Cone Equivalent chart shown below is the result of considerable testing in our e lectr ic kiln.

~UARRY TILE [Red) Cone 04 to 8 PECIAL MIX (Buff) Cone I to 1O

50/50 MIX [Ouarry Tile & Special Mix) Cone 04 to 10 SCULPTURE CLAY (Buff) Cone I to 10 NAVAJO WHEEL CLAY [Dark Red) Cone 04 to 8 MISSION SLIP (Buff) Cone I to 8 NAYAJO SLIP [Red) Cone 04 to 8

RETAIL PRICES (FOB Florin, California) 9UANTITY * PUGGED & DE-AIRED DRY CLAY

2-25.~ Bags (Min. Sale) $4.80 $4.50 3 to 79 Bags $1.75 per 254~ Bag $1.25 per 25= Bag 80 or more Bags $1.55 per 25# Bag $1.05 per 254~ Bag

• I Bag cons;sis of 25 Ibs of clay packed in • heavy moisture-proof Poly Bag. 2 Bags per package for sh~pping.

Mr. David R. Scholchll, who has devoted 48 years to the ceramic arts and industry as a technical and ceramic engineer, has recently developed for us the new clay bodies listed below:

STONEWARE ~5 [Light Cream) Cone I to 12 STONEWARE .~9 ILight Brown) Cone 4 to 12 STONEWARE #.l-C [Sandstone) Cone 4 to 8 STONEWARE ,~'3-P (Dark Brown) Cone I to 8

The above colors developed from Cone 6 to maximum firing range.

O R D E R Y O U R C L A Y S U P P L Y T O D A Y !

Ouanfity discount to dealers and schools.

INDUSTRIAL MINERALS & CHEMICAL CO. 836 Gilman St. • Berkley 1O, Calif. • Phone 524-2100 • Code 4IS

M a y 1964 5

12th ANNUAL EASTERN

(CRRmI( SHOW

Sponsored by CERAMIC LEAGUES, INC.

M A Y 1 4 - 1 7 , 1 9 6 4 CONVENTION HALL, ASBURY PARK

NEW JERSEY

A T T E N T I O N

• SPECIAL EDUCATIONAL FEATURE . . . See Carlie Tart present the nationa premier of "Ceramics from Nature's KilnmDesigns in Earth, Fire and Water" on Saturday evening, May 16th at 9:30 P.M. • Buyers Cards to be honored at the Eastern and Chicago Ceramic Shows now available . . • Write for yours today • . . Wholesale Hours: 12 to i P.M. dally. • Hobbyists and Beginners are Invited to attend the fabulous "Pageant of Techmques" from 9 A.M. to 12 Noon daily . . •

free admission.

I Please send teaching schedule for Pre.Registered Classes to be I co•d•c ted at the 1964 Eastern Ceramic Hobby Show . . . I wish

I to make a reservation. I

I NAME Iplease print l I

I STREET I

I CITY & STATE |

I NATIONAL CERAMIC AMATEUR EXHIBIT I James A. B•Ice, Chm., 25 Ablngtu• Ave., Marlton, N. J.

I Please send ~ Entry Forms. I plan to exhibit in the: National I Amateur Exhibit (check}; Professional Exhibit (check}.

I I I NAME (please printl I

I STREET I

I CITY & STATE I

TEACHERS .

HAPPY RES

Ever wonder wky Reward glazes and colors are •ned in more schools and craf t centers than any other bra•d? The reason is PRE- TESTING of every batch at th• factory be- fare it leaves Maryland. To make res•lts mare c•rJgin, colors and finishes ore checked for ease-of.application and fool- proof f ir ing chareaterlstics. If you want to encourage ceramics in your classes or community, insist upon the REWARD brand. Over 400 colors and textures to suit every teaching and student requirement.

Reward glazes and colors f i re at "standard temperatures" (Cone 06-04) in regular school and institution kilns. Avai lable in 2 oz and 4 oz jars or eco•omical pi• t , quart and gallon sizes. Write for prices and free literature.

R E W A R D CERAMIC COLOR MFRS.. INC.

6811 Washingto• Blvd., Elkrldge 27, Md.

EVERY ART CLASS NEEDS.. .

THE Fabulous N E W , w a t e r soluble d e c o r a t i n g medium for use on"

eCERAMIC BISQUE ePLASTER ePAPER eWOOD ePLASTIC eFABRIC eMETAL

"k 2 9 Blendable COLORS All BISQ-WAX colors blend together to create any shade you de- s i re : It is HIGHLY CONCENTRATED and can be thinned with equal par ts of water if necessary. All co lo rsa reOPAQUE and are made TRANSPARENT by thinning with water or blending with BW-100

,~ ,CL E A R BISQ-WAX.

VATER SOLUBLE - Brushes and tools c leanwi thsoap and water. After BISQ-WAX has thoroughly dried it becomes a verv perma-

ent, washable finish.

0 SPRAYS are needed regard less of the typeof decorating tech-

n ique used.

INLIMITED DECORATING TECHNIQUES: Use BISQoWAX as you use oi ls , water colors , poster paints, Excellent also for antique and grained techniques,

o , _ . 40¢ 2 o - . 75¢ a l l c o l o r s

For more d • ta i Jnd I n fo rma t i on , w r l t • t B I S Q - W A X , 5673 E. Shields Ave., Fresno 27, Calif. I

6 Ceramics Monthly

Share )'our thoughts with other CM read-

ers be the)' quip, query, comment or ad-

vice. All letters mu~t be vigned, but names

will be withheld on request. Address: The

Editor, Ceramics Monthly 4175 North

Hi.eh St., Columbus, Ohio 43214.

NOT "GENERALLY-ACCEPTED"

With reference to your answer in your

"Ques t ions" co lumn regard ing the mean-

ing of " th rowing" on a pot ter 's wheel.

while this is the answer general ly given, it

is one that I have always found unaccept - able.

Just as pot t ing is an old craft, we mus t

go back into the past for a true defini t ion

of the term in question.

1. T h e word " th row" is derived from

the old Anglo Saxon " t h r a w a n to twist,

hur l . " and if you th ink of a l u m p of clay

sp inn ing on a pot ter ' s wheel, this is pre-

cisely what happens when the clay is

formed into a shape. T h e clay can only

be moved or shaped by twistin~ or spiral- rag.

2. In the old days the word " th row"

was also used to m e a n form, shape, con-

tain. sur round , and while words and their

mean ings change over the centuries , we

still use this word in this sense. We speak

or read, for example , of the police " throw-

ing"' a cordon a round a building" or area.

LETTERS to conta in a suspect, and obviously these

men are not " t h r o w n " a round in a sense

that clay is " t h r o w n " onto the pot ter ' s

wheel. T h e y are moved into a ring. or

shape, to contain a cer tain area, in the

same way that clay is formed or shaped

to conta in an area or vo lume on the

wheel. The re are m a n y o ther examples .

We have been readers of CV.RAMmS

MONTHLY from the third issue and we

enjoy it immensely . Whi le wishing for

a more professional approach , we realize

that your p resen t fo rma t appeals to a

grea ter n u m b e r and this is impor tan t . L. F. Osborn

Victoria, B.C.

In your March 1964 issue we noticed

the explana t ion of the term " th rowing" in

answer to a quest ion. After read ing your

general ly-accepted theory, my wife looked

it up in the dict ionary. We.bster's Collegi-

ate. Perhaps their exp lana t ion of the

der ivat ion of the word " th row" would

give a different and more consistent con-

nota t ion of the te rm " th rowing" to its

use in pottery. Throw, accord ing to the dict ionary,

comes from the Middle English word

" t h r o w e n " or " thrawen '" m e a n i n g to throw

or twist, and f rom the Anglo Saxon word

" ' th rawan" m e a n i n g to twist or revolve.

It seems that this defini t ion migh t more

readily apply because it would refer to

the cons tan t act ion of the wheel dur ing

the th rowing operat ion, since it is likely

that m a n y potters, past and present , used

so m a n y methods in ge t t ing clay" adhered

to the wheel. Both my wife and I, for

example , prefer to place the clay carefully

in the wheel 's center and then press it

downward to fasten.

The above defini t ion is not, however, in-

tended as a criticism of the general ly-ac-

cepted theory but as an effort to show

ano the r side to the term. Edwin C. Garner

Eureka Springs, Ark.

May 1 join your Ques t ion and Answer

staff for about ten minu te s? Ord inar i ly I

am a lethargic gen t who prefers to lie on

a flat stone and bask in the sun for days

at a time. but occasionally I am s tung to

action. I rise to protest the hoary old

myth you gave tha t the casual and insig-

nif icant act of tossing a l u m p of clay on

a mov ing wheel gives the te rm " th rowing"

to the whole pe r fo rmance of us ing the

pot ter ' s wheel. I know that you will say

that everyone agrees with tha t definit ion,

and why don ' t I go j u m p in the lake.

Every wri ter says the same t h i n g - - e v e r y -

Continued on Page 37

M a y 1964 7

,(akeSoCn~rr.R~,l~t¢.. , ~ " out

C e r a m i c c l a s s e s should be a joy to teach ins tead of a d rudge , ~ , tha t i s why we, at DUNCANS, a r e cons t an t ly consu l t ing with ~ ' ~ teachers so that we can learn ofyourceramic problems and ~ i ' ~ then help you correct them. Won't youlet us help you7 L ~ FREE INSTRUCTION MANUAL ~ , Th i s manua l g ives you de ta i led i n f o r -

mat ion on the characteristics and appli- ~:::;~!!~ cation of all Duncan glazes and other I;" ~ , ~ c e r a m i c n roduc t s plus the reasons for

most glaze xmperfectton problems. , ~:,~ ~ '~ ' , FREE PRINTED COLOR CHARTS ~ - " This is a4-pagebrochureshowingDun-

: can's complete ceramic color line, 220 : in all, glosses, maLts, crackles, sa-

tins, lavas, speckles, special effects, arts plus opaque and translucent underglazes. All are ready to use rightoutof

~ , ~ ~ ~,~: : the j a r . ~;#~ CLASSROOM PROJECT IDEAS F r o m t ime to t ime Duncans o f f e r s u g - ges ted p r o j e c t ideas such as coi l , s l ab and sand mold techniques . Each is c o m °

~ t p le te with photos and s t e p - b y - s t e p in - ~ structions.

~/"';~*~a~ . FAST DELIVERY SERVICE : : Duncan D i s t r i b u t o r s a r e e v e r y w h e r e

with a comple t e s tock of suppl ies .

W r i t e us today for t h e d i s t r i b u t o r n e a r - ' ~i est you and for your FREE Instruction " ~ - ~ Manual and Printed Color Chart.

• ~ i ̧ , ~ ~,

CERAMIC PRODUCTS, INC., 5673 [. SHI[tDS AV[.. FRESNO 27, CALIFORNIA

FREE. . • fo r dealers onll(. This attractive heavy-wire magazine display rack is supplied free to every studio selling single copies o t Ceramics Monthly. It is part of a "full-service" program we offer ceramic studios everywhere. Learn more about thls program now m send the coupon below or w r i t e o n y o u r l e t t e r h e a d . ,_

Circulation Manager CERAMICS MONTHLY 417S N. High St., Columbus, Ohio 43214

Please send us information on your single copy sales program ~ for dealers only.

STUDIO

ADDRESS

CITY/STATE

Answers to

QUESTIONS C o n d u c t e d by t he C M T e c h n i c a l S t a f f

0 1 purchased a large bag of pottery plaster about a year ago and at that time it mixed perfectly. Recently when I used

some of this plaster to make a mold, I found that it was lumpy and that some of these lumps would not break down when mixed with water. Does plaster "'spoil" when it is kept too long?--Mrs. D. P., Davenport, Iowa

I f plaster is used infrequently, it would perhaps be best to purchase it in small quanti t ies because it does deteriorate in time. Plaster draws moisture from the air and this causes the lumps you found in your material . Plaster should be stored in a container that has a t lght-fi t t ing lid and kept in a dry room.

Would it be possible, and safe, to retire an old salt-glaze jug I have? The glaze is chipped on the mouth and I would

like to add a semi-matte low-fire glaze and [ire in my electric kiln to about cone 05.--Mrs. D.D., Montreal, (2ue.

You had better be content with a chipped piece! Retir ing would probably not damage the pot but it certainly would damage your electric kiln, because the salt would vaporize and attack the kiln elements.

I recently saw a reference in your magazine to a product or material called "came lead." I f this was not a mis-print,

could you explain what it is? - -E . D., Urbana, Ill.

The reference was to glass work. The " t ames" are grooved rods of cast lead that are used to hold together the sections or panes of glass in stained glass work.

Could you please advise me on how to re-claim slip scrap or waste so that it can be used again either as slip or for

hand modeling? I enjoy Ceramics Monthly very much and feel that your Answers to Questions column is of much use to ceramists.--Mrs. D.K., Norwalk, Conn.

Old slip scraps can be reworked and added in a small percentage to a batch of new slip. Because cer tain propert ies are lost in the old slip scraps, it is best to keep the addit ion down to about 20 percent of the total when adding to new slip. And because of the presence of the deflocculant in the slip, it is generally not very satisfactory for use in hand building. You will f ind that it is low on plasticity and has a tendency to crumble when it is worked.

0 I recently ordered some mold soap and, when it arrived, found to my dismay that it was not a liquid but a paste.

Can you give any instructions on how to use this?--G. L., Co- lumbia, $.C.

Mold soap in the paste form can be made into a liquid by combining one par t of the paste with six parts of water (use hot water for best results). S immer this on the stove until the mixture reaches the consistency of syrup. To use the soap, dip a dampened soft sponge into the liquid and work this up to a la ther in a small bowl. I t may be necessary to add a few drops of water. Apply this lather generously to the mold surface and wipe away any e x c e s s .

All subscriber inquiries are given individual attention at CM; and, out of the many received, those of general interest are selected [or answer in this column. Direct your inquiries to the Questions Editor, CM, 4175 N. High St., Columbus, Ohio 43214. Please enclose a stamped, self.addressed envelope.

8 C e r a m i c s M o n t h l y

Send your show announcements early: "Where to Show," three months ahead o[ entry date; "'Where to Go," at least six weeks be/ore the opening.

WHERE TO SHOW

CALIFORNIA, WALNUT CREEK May 30-June 1 Walnut Creek's Ninth

Art Annual is an open competition which includes all of the visual arts. Cash awards; Jury. For entry blanks, write: Ronald Caya, Director of Civic Arts, 1445 Civic Drive, Walnut Creek.

INDIANA, INDIANAPOLIS May 16-17 The Talbot Street Art Fair

is open to Indiana artists and craftsmen; media include pottery, enamel and silver. The event is sponsored by the Indiana Artist-Craftsmen. For information, write: Barta Monro, R.R. 4, Box 627, Indianapo- lis.

LOUISIANA, SHREVEPORT June 5-7 The Fourth Annum Arts and

Crafts Festival at Hodges Gardens is sponsored by Louisiana Artists, Inc., and is open to craftsmen, artists and sculptors whose work is original in conception and execution. Exhibition and sales; Jury. For information, write: David V. Middleton, Festival Chairman, P.O. Box 1703, Shreve- port.

NEW YORK, COOPERSTOWN August 2-27 The 29th Annual Art

Exhibition of the Cooperstown Art Asso-

ITINERARY ciation at the Village Library Building includes a special Crafts show. Entry fee; Cash awards; Jury. Entries are due by July 12. For information and entry blanks, write: The Secretary, Cooperstown Art Association, Cooperstown.

NEW YORK, FLUSHING June 6-7, 13-14 The Eighth Annual

Outdoor Show sponsored by the Art Alli- ance of Women in Flushing, open to artists living in New York and environs, will be held at Murray Hill Square. Media include ceramics and small sculpture. En- try fee; Jury; Prizes and awards. For information, write: Cecile Graham, 314 N. Long Beach Ave., Freeport, L.I., N.Y.

OREGON, PORTLAND May 27-June 20 The l l t h Biennial

Exhibition of Northwest Ceramics. sponsored by the Oregon Ceramic Studio and the Creative Art Foundation of Oregon, is open to artists living and working in Alaska. British Columbia, Idaho, Montana, Oregon, Utah. Washington and Wyoming. Entry fee; Jury; Awards. Work must be delivered between May 4 and 11. For information, write: Oregon Ceramic Stu- dio. 3934 S.W. Corbett Ave., Portland.

SPECIAL FOR HOBBYISTS

COLORADO, DENVER May 2-3 The Rocky Mountain Ceram-

ists Association Annual Show will be held at the Colorado Grange Hall.

GEORGIA, ATLANTA July 9-12 The Ceramic National

Trade Show, sponsored by the NCMA and open to the trade only, will be held at the Atlanta Biltrnore Hotel. For information, write: Phil Skutt, 2618 S. E. Steele St., Portland, Ore.

ILLINOISj BERWYN May 2-3 Ceramic Art Exhibit and

Show, sponsored by the Great Central Ceramic League of the Greater Chicago Area. Competition open to hobbyists and professionals; Demonstrations; Classes. The show will be held at the VFW Post 2378, 1529 S. Harlem Ave. For information, write: Miss Helen Altieri, 16241 Wood- lawn E Dr., So. Holland, Ill.

ILLINOIS, CHICAGO August 22-25 The Fifth Annual Chi-

cago Ceramic Show, "The Show of Shows," will be held at the Morrison Ho- tel. Competitive exhibits, demonstrations and classes. For information, write: E. Kane, Box l l5 , Wilmette, Ill.

KANSAS~ SALINA May 2-3 The Central Ceramic and

Hobby Show, sponsored by the Salina Ceramic Art Society, will be held at the 4-H Building. For information, contact: Arlene Munson, 1926 Simmons, Salina.

MISSOURI, INDEPENDENCE May 1-3 The Fourth Annual Show of


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May 1964 9

A whole kaleidoscope of exciting enamel colors has been created by Thompson . . . just for you. Now you can work with the broadest range of colors e v e r . . , select the exact shades right from the new full-color "Color Guide" in the latest Thomp- son catalog.

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10 Ceramics Monthly

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DEALER INQUIRIES INVITED

May 1964 11

SUMMER WORKSHOPS Summer Workshops give you that wonder- [ul opportunity to combine vacation travel with hobby [un. Whether you are tripping east or west or only a little ways [rom home, you'll find a workshop in ceramics to give you that fresh inspiration. Our list to date: CALIFORNIA~ GUERNEVILLE June 22-August 21

Pond Farm Pottery offers nine weeks of instruction for male students only in throwing, decorating and hand-building. Instructors: Marguerite Wildenhain and David Stewart, Assistant. Write Mar- guerite WildenhaJn, P. O. Box 322, Guerneville.

CALIFORNIA., IDYLLWILD ]une 28-August 7

The University of Southern California and the IdyUwild Arts Foundation offer three 2-week workshops in beginning and advanced ceramics, mosaics and enamel-on-copper. I n s t r u c t o r s : Susan Peterson and Dorothy Lewis, Write: U.S.C., Idyllwild Program, Idyllwild.

CALIFORNIA, Los ANGELES ]une 15-August 7

Chouinard Art School of California In- stitute of the Arts offers 8-week beginning and advanced ceramic courses in the study of methods and processes of forming clay and surface enrichment with clay slips and glazes. Instructor: John Fassbinder. Write: Ghouinard Art School, 743 South Grand View, Los Angeles 57.

CALIFORNIA, MENDOCINO ]uly 6-11 and August 24-29

Third Annual Summer Potrips, conducted by Hal Riegger, deal with primi- tive Indian methods of pottery making and are held on the northern California coast. Write: Hal Riegger, 469 Pano- ramic Highway, Mill Valley, Calif.

CALIFORNIA, SU NNYMEAD Iune 22-July 4

The Moreno Valley Unified School Dis- trict is presenting an adult workshop in ceramics at the Alesandro Junior High School. Instructor: Girlie Tart. Write: Dr. Robert Bannister, Art Supervisor, 13911 Perris Blvd., Sunnymead.

CONNECTICUT, BROOKFIELD August l O.September 12

The Brookfield Craft Center offers two sessions, August 10-September 2, and September 8-12, in general ceramics. Instructors: Vivika and Otto Heino (first session) and Harvey Holl (second session). Write: Brookfield Graft Cen- ter, Brookfield.

CONNECTICUT, NEW CANAAN July 6-August 28

The Silvermine College of Art will present an 8-week pottery workshop. In- structors: Tauno Kauppi and Guy Grande. Write: Silvermine College of Art, Silvermine Rd., New Canaan.

D.C., WASHINGTON June 29-August 7

Catholic University of America is offering 6-week courses in ceramics, advanced ceramics, silversmithing and an introductory course in metalcraft. In- structors : Alexander Giampietro and Rufus Jacoby. Write: Registrar, Catho- lic University of America, Washington 17.

12 Ceramics Monthly

INDIANA., iNDIANAPOLIS June 15-August 21

Amaco Ceramic Workshops offer 1- and 2-week courses in ceramics and metal enameling for teachers and occupational therapists at the John Herron Art School. Graduate and undergraduate credit. Instructors: Kenneth E. Smith, Justin M. Brady and William Gehl; guest demonstrator: Richard Peeler. Write: American Art Clay Co., Inc., 4717 W. 16th St., Indianapolis 22.

MAINE, DEER ISLE June 21-September 12

Haystack Mountain School of Crafts offers four 3-week quarters in all phases of wheel throwing, hand-building and glaze techniques. Ceramic instructors: Harris Barron, Svea Kline, Karen Karnes, James and Nan McKinnell and Hal Riegger. Write: Haystack Moun- tain School of Crafts, Deer Isle.

MASSACHUSETTS, WORCESTER July 6-31

Worcester Craft Center Summer School and Workshop is offering instruction in the major crafts, including ceramics, glass and enameling. Instructors include Donald Campbell (ceramics and pottery) and Donald B. Andrick (enameling). Write: Worcester Craft Center, 25 Sagamore Road, Worcester.

NEW HAMPSHIRE, DURHAM ]uly 6-August 14

The Department of Art at the Univer- sity of New Hampshire offers a 6-weeks session in ceramics and workshops in jewelry, weaving, leathercraft and enameling. Ceramics instructor is Mr. Potter. Write: Box SS, Department of the Arts, Paul Arts Center, University of New Hampshire, Durham.

NEw HAMPSHIRE, PETERBOROUGH ]uly 6-August 28

The Sharon Arts Center is offering an 8-week course in ceramics. Instructors: Gerry Williams, Julia Shaw and Wil- liam Sax. Write: Sharon Arts Center, RFD 2, Peterborough.

NEw MExicO, RUIDOSO ]uly 20-31

Enameling Workshop is scheduling a 2-week session in basic skills and various techniques and methods of enameling. Instructor: Ruth Hess Lutman. Write: Mrs. H. Greggerson, Director, Carrizo Lodge, Ruidoso.

NEW YORK, ALFRED ]u.ne 29-August 7

Alfred University offers 6-week courses in Ceramic Design and Pottery Pro- duction; and Advanced Ceramic De- sign. Instructors: Theodore Randall and Val Cushing. Write: Fred H. Gertz, Director, Summer Sessions, Box 805, Alfred.

NEW YORK, CHAUTAUQUA July 6-August 28

Chautauqua Art Center offers ceramics and jewelry-making in an 8-week session (or any part thereof). College credit may be earned through Syracuse University. Instructor James Achuff. Write: Chautauqua Summer Schools,

Chautauqua Institution, Chautauqua.

NEw YORK, LAKE GEORGE ]uly 6-August 8

The Lake George Art Center Work- shops offer instruction in throwing, handbuilding, glazing, decoration and design, mosaics and creative arts for children. Instructors: Jeanne Hastings and Rose Catalano. Write: Lake George Art Center School, Lake George.

NEw YORK, NEW YORK June 1-July 31

Craft Students League of the East Side YWCA is offering 8-week summer workshops in ceramics and enameling (June 1-July 24) and a 5-day workshop in glass fusing (July 27-31). Instructors: Roberta Leber, Gertrud Englander, Adda Husted-Anderson, Mildred Down- ey and Maurice Heaton. Write: Graft Students League, 840 Eighth Ave., N.Y.

NEW YORK, ROCHESTER June 22-26, July 6-August 14

The School for American Craftsmen of the Rochester Institute of Technology is offering a 5-day Workshop-Seminar in ceramics and ceramic sculpture from June 22-26; the 6-week summer session, starting July 6, offers graduate and undergraduate credit courses in ceramics and ceramic sculpture (and other crafts) for teachers, designers and craftsmen. Instructors: Frans WildenhaJn, Hobart Cowles and James Secrest. Write: Mr. Victor ScorNer, Director of Summer Ses- sion, Rochester Institute of Technology, 65 Plymouth Ave. S., Rochester 8.

NEw YORK, WHITE PLAINS June 29-August 7

Westchester Workshop offers 6 weeks of instruction in hand-buih and wheel- thrown pottery, the study of form and decoration, and glaze application. In- structors: Estelle Halper and another to be announced. Write: Charlotte E. Kizer, Director, Westchester Workshop, County Center, White Plains.

NORTH CAROLINA, PENLAND June 1-September 26

The Penland School of Crafts offers 2- and 3-week sessions in ceramics and enameling. Courses for credit recognized by all accredited colleges through East Tennessee State College. Write: Pen- land School of Crafts, Box M, Penland.

OHIO, CLEVELAND June 15-]uly 24

The Cleveland Institute of Art is offering 6-week workshops in beginning and advanced ceramics and enameling. In- structors: Roy Cartwright, ceramics; and Kenneth Bates, enameling. Write: Cleveland Institute of Art, 11141 East Blvd., Cleveland 6.

OHIO, COLUMBUS June 22-August 28

The Ohio State University is offering first term (June 22-July 24) or full quarter courses in beginning, inter- mediary and advanced hand building, throwing and decorating techniques. University credit. Instructor: Paul Boga- tay. Write: Eugene Friley, School of Art, The Ohio State University, 126 N. Oval Drive, Columbus 10.


ATTENTION must be given to certain factors involved in the use of low telnperature glazes. Inevitably questions such as the following will come to the minds of readers: Don ' t low fire glazes craze? Is the softness of clay fired to low temperatures desirable? Aren' t low fire glazes soft and don ' t they scratch easily? How about lead poisoning? To the extent that iny experience allows, I will try to clarify these questions. In my own work, glazing at very low temperatures has presented no obstacles that were not easily overcome.

1. Most low fire glazes do craze and there are various ways of dis- pensing with this matter. Negative attitudes towards crazing are, in most cases, products of the mind that has been fed vague bits of information, often out of context. For example, if we call crazing "crackle" (which is exactly the same thing) we find we can readily accept it. This is not to say there are not practical aspects of crazing that many times must be con- sidereal, but generally these are outside the concern of the artist-potter. The elimination of glaze crazing is a technically involved matter; engineers and potters have written and spoken nlanv words on the subject. Since no silnple hard-and-fast rule can be given for all cases, I will make no attempt to elaborate on the subject. I t is generally considered that a pot covered with a crazed glaze is a leaky pot. However this need not be the case, as will be seen below.

2. When a potter thinks about how a glaze is fired, he automatically knows it nmst be matured; that is, it must be fired to sufficient telnperature to fuse the glaze as intended. It is a Inuch rarer thing for a potter to think about clay in this salne light. Clay also has a maturing point which, when reached, produces as tough and as durable a product as is possible with that clay. Since maturity of clay is determined by porosity (roughly 7% or less) it will be seen that a clay properly inatured will have little

LOW-FIRE GLAZES Part 2

by HAL RIEGGER

opportunity to leak even if it is not glazed. To work with low teinperature glazes a potter does not have to be satisfied with a porous, leaky pot. If a pot I make must be leak- proof, and if I am using a low fire glaze on it which nmy craze, I bisque fire the pot to whatever teinperature is required to mature it. This may soinetimes be as high as cone 10, depending upon the clay.

A fairly recent development in the compounding of clay bodies has been the incorporation of certain percent- ages of highly active fluxes, called body flits. As little as 5-10% of such flux will greatly reduce the temperature necessary to mature the body. Translucent bodies, having the appearance of porcelain, have been developed by some frit inanufacturers. These reach maturity at cone 015 and call for as high as 509~ flux. With a little further investigation into this matter, it will be seen that dense, tough, matured bodies are to be at- tained at an t , temperature.

Another way to avoid a leaky pot when we wish to work with low temperature glazes is to glaze and fire the pot in whatever manner one usually employs, using the regular stock glazes. Then after this, low-fire glazes may be applied, either in part or to the entire surface, and the pot re- fired. This is xnore tiine consuming and lnore expensive since it requires a second glaze firing; however, it is a practice I use often and find very satisfactory. (Since the surface of a glazed pot is not porous, the application of glaze over this will have to be inodified. One common way is to heat the pot before applying more glaze. Another way- -which I find preferable--is merely to use a glaze of thicker consistency, one that does not flow on a dense surface. However, this is a matter each person can re- solve himself in whatever manner best suits his situation).

3. L o w temperature glazes are not as hard as high-fire glazes. Their surface can more easily be scratched and

they do show wear more readily. This is one of the factors a potter must weigh since he cannot "have his cake and eat it," as they say. Where purely decorative pieces, such as sculptures, are concerned, this need not be considered. In the case of pots or articles that will be used constantly and where wear is very likely to occur, the use of soft, low-fire glazes becomes an interesting design challenge. There are lnany areas to a pot that do not actually touch other surfaces that would be abrasive: under rims, inside handles and at lnany places on the surfaces of pots, depending upon their forms. For example, slight dents made on the surface need not impair the pot's utility yet could receive spots of soft, bright colored glazes. I t takes only a bit of logic to figure out many ways of solving this problem.

4. I have picked only a few of the questions that will occur to readers. One that I often hear involves a fear of lead poisoning. Whereas it is true that many potters use low-fire glazes that might release small quantities of lead into foods and fluids, the potter need not use these on articles associ- ated with food or drink. If for some reason he finds it desirable to use such a soluble glaze the finished pot may be immersed several days in a weak solution of acetic acid or diluted vinegar. Any free lead will be dissolved this way, al though the glaze surface may change, becoining somewhat dulled. An easy test to deter- Inine the solubility of any glaze is to place a slice of lemon or tomato on the surface for a day. If after washing the article there is a dull spot left from the fruit, the glaze is soluble and should not be used with food.

The matter of soluble glazes and lead poisoning, while it certainly ex- ists, is not, I believe, the serious matter it once was. I t has largely been overcome by the development and use of glaze frits. Frits are pulverized mix- tures of glaze compounds, including lead and water soluble materials, that


3[a~ 1964 13

FRANCINE DEL

Diminutive Potter

by DOROTHY HAGEN SCHERER

PIERRE

of Paris

' I 'nE PERFEGT WAY for an American to see and get to know a foreign city is to visit someone who lives and works there. I recently returned from such an extended sojourn with my daughter who resides in the fabulous city of Paris.

Because of my long-time interest and work in pottery, my daughter suggested that I make use of my time while she was at work by attending a ceramics class. She also suggested that I improve my faltering French by study- ing at a language school. In a very short time I was en- rolled both in a French school and in a ceramics class conducted by the internationally-known French ceramist, Mme. Francine Del Pierre.

Mme. Del Pierre's large atelier is at 47 Rue Bona- parte, just off St. Germain-des-Pr~s. Here a group of interesting people of different backgrounds and tempera- ments work together in a harmonious and stimulating atmosphere. The number of pupils in a class varies between 10 and 17; their ages range from 18 to 80. There are men and women of various nationalities. Some, like myself, are amateurs; others are professional ceramists. There are, of course, many Parisiennes among the pupils, but there are also many interested persons from European countries, Australia, Brazil, Argentina and Uruguay. Among the Americans are some Army wives, a Japanese girl from Denver, and ceramic hobbyists from Texas, Louisiana and Georgia.

The work done in the atelier is almost exclusively hand building and mostly coil building. The tables used for this work are marble-topped ones originally used in a bakery for making French pastry. The marble surfaces are perfect for wedging clay and rolling coils; they are also very easy to clean at the end of class.

There is in the studio a potter's wheel that is used by Fance Frank, Mme. Del Pierre's co-worker who also helps with the teaching and firing. Miss Frank is a tal- ented American from Houston who first studied pottery with Jane Hartsook, director of Greenwich House Pottery in New York. She later worked in the studios of Mary Caroline Richards and Karen Karnes.

The kilns used are electric; there is a small one

14 Ceramics Monthly

and a large one. A new gas kiln was being installed while I was there and when that is finally in use, work in porcelain and stoneware will be possible. At tile present time, earthenware is used exclusively. The bisque is fired at cone 07 and the ware is glaze fired at cones 03, 02 and 01. The clays used in the studio come from Marseille and Meillonnas. Most of the raw materials for glazes are available in France, although a few are imported.

While there were many new and interesting things to catch the attention of a foreigner in this French studio, my principal interest was centered on Mine. Del Pierre herself.

When Francine Del Pierre decided to become a potter seventeen years ago, she discovered that she could barely spin the available potter's wheels because of her diminutive size--she is only four feet eight inches tall! Realizing that pottery had been made for a very long time before man had a wheel, she decided to make her pottery by hand. Because she could find no one in France who could teach her or who was even much interested in any method but the wheel and casting, she had to teach herself. Very slowly she evolved a method of coil building that was quite unlike any method known in the past; from this came her present method of building pottery.

Mine. Del Pierre teaches her students to roll the coil in the usual fashion, but very, very regularly. I t is made about 7~ of an inch in diameter. Next, the coil is flattened between the thumb and index finger of the left hand while the right hand holds and supports the remainder of the coil length that is yet to be flattened. All of this is done in a relaxed, regular "inching" movement, somewhat as if one were fingering prayer beads or imitating the actions of a measuring worm.

As the coil is flattened it attains a width of about an inch and a quarter and is curved into the exact shape

Francine Del Pierre (right) and student Isa Perrot arc" seen handbuilding in 34me. DeI Pierre's studio.

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required by the design of the pot. I t may be perfectly straight or it may be open or closed to the extent required. As the thumb flattens the coil, it is placed in such a way as to leave a slight ridge on one edge of the growing band; this ridge affords just the necessa~' amount of clay for joining one coil to another.

There are two particular advantages to this method: first, it makes possible a high degree of control; and second, it gives density and tension to the clay as the coil is flattened into a band. Since the band of clay has been given the desired curve before it is added to the wall of the pot, there is no wear and tear on it while getting it into place.

I t takes a lot of time to make a pot with Mine. Del Pierre's method and I was impressed with the concen- tration and patience shown in her studio. At first I found myself working too fast, for I was accustomed to throwing on the wheel and building with slabs. I soon learned to slacken my speed, however, and now feel that the most important things I learned in this class were to relax, to take my time, and to enjoy what I was doing.

In Mine. Del Pierre's own work ornamentation is a matter of understatement rather than overstatement. If a decoration is used on the clay before the bisque firing, it is likely to be an added relief or impression in the clay or a design cut or carved in low relief. Another effect used by this artist is achieved by rubbing various metallic oxides into the bisque ware and then partially rubbing them away. Mme. Del Pierre frequently en- graves into the glaze itself, scratching the decoration into a thin coating of glaze with pointed tools. Over this is applied another thinner spray of glaze to soften, sink and integrate the design. One tool she uses for this purpose is the porcupine quill that Michael Cardew, the English potter, brought to her from Nigeria.

Clear-headed attention to detail makes the finished work of Mme. Del Pierre quite unique and her pottery is characterized by a polished feminity that we might expect from a Frenchwoman. Her bowls, boxes and de- canters have simple, elegant forms and exquisite coloring. Her ceramic work can be found in collections and museums around the world, including six museums in Holland, the Victoria and Albert Museum in London, the Museum of Contemporary Crafts in New York, and the Faenza Museum in Italy. She has exhibited widely and won numerous awards and medals, and in 1957 she was awarded a gold medal at the Milan Triennale. Her work was also represented in the 20th Ceramic Interna-

16 Ceramics Monthly

tional Exhibition sponsored by the Syracuse Museum of Fine Arts.

Quite recently Francine Del Pierre was one of twelve modern ceramists from all parts of the world invited to exhibit their work in the Music des Arts D6coratifs of the Palais du Louvre. Among the other celebrated exhibitors were Bernard Leach and Shoji Hamada.

Concerning her work, Michel Far6, Curator of the Mus6e des Arts D6coratifs, has this to say: "Francine Del Pierre unites strength and grace. Foregoing the dis- ciplines of the wheel, and freed from mechanical means, she finds, within herself, measures of her own choosing . . . . Her work enchants, as a song of another age trans- forms some faint frightening thing into a presence that is familiar and tame. The spellbinding rhythms of the wheel, the wild excitement of the hand as it feels shapes slipping from it, are replaced by the suppleness of the coil that submits its pliable receptivity to this artist's sensitive mastery. Francine Del Pierre has rediscovered, instinctively, without false erudition, the spirit and re- finement of the old masters of the Orient."

Concerning her teaching, Mine. Del Pierre says that she learns much from her pupils and their way of react- ing to contact with clay. Through them she receives proof of the fact that ceramics, when approached in a certain spirit, is a means of personal expression. One is convinced of this upon seeing the individual character that stamps each pupil's work from the very beginning.

Francine Del Pierre feels that there is no great dif- ference of approach between French and American potters. All of the good attitudes and all of the bad ones exist in both countries. On the whole, she believes that studio potters and small manufacturers in America have much greater knowledge of clays and glazes than the French and that the general level of standards is probably higher in the United States. She expresses the hope that some day something can be done to make knowledge and materials more easily available in her own country.

D O R O T H Y HAGEN SCHERER studied ceramics as part of her art training at Sophie Newcomb College. After graduation she taught art in New Orleans and Houston. Her present interest in ceramics is centered in the making of containers [or [lower arrangements. Ac- knowledgement is made by Mrs. Scherer to Fance Frank, who supplied her with much of the background material [or this story.

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Some of the coil-built pottery made by Francine

Del Pierre is pictured on these pages. On the

opposite page is an elegant ribbed bowl. A group

o[ hand-built bowls is pictured abor'e; at the

right is a [lat, open bowl with a delicate, under-

stated decoration. Photos by ]. Schnapp and An- ders Holmquist.

May 1964 17

POTTERY the designer-craftsman's

by ROBERT

M A K I N G A PIECE OF POTTERY involves learning a g r o u p of fairly demanding skills which can only be mastered through much practice. An awareness of every subtle movement of the hands as they control the responsive clay is the most obvious of these demands. Another skill that must be controlled at first by our conscious thinking processes is the use of the feet as they regulate the speed of the wheel. For that matter, the entire body is brought into play while we work at the wheel and it nmst be forcibly directed by our minds. Eventually, however, these technical problems of body mechanics are mastered through practice and hard work and we are suddenly surprised to find that it is no longer necessary to think about all of the separate physical activities which culmi- nate in the production of a piece of ceramics. The problems of making clay "stand" without slumping, welding pieces together with slip, controlling the drying to avoid cracks, and other apparently insurmountable difficulties, have finally become part of our repertory of skills.

When these skills have been mastered, we must realize that we have not necessarily "arrived" at the point where we can proceed without any further thought about our work. While it is true that we probably can make containers to hold everything from cottage cheese to flowers, we must face the fact that a milk container cut in half would serve the same function. There is something beyond the mere functional: this is a beauty that every man seeks to express.

Thus, to our technical proficiency must be added the age-old problem of man's quest for beauty. This is the potter's continuing problem, fresh and new as the

SHAPES continuing challenge ENGLE

clay there before him. The inert mass of clay, devoid of any inherent form of its own, responds willingly to the potter's hands and gives permanence to his decisions - - decisions which can turn the emerging shape into a thing of enduring beauty or into a nightmare of faults.

When we have finished making a piece of pottery and have brought into play all of our available skills and our ideas concerning good design, we must be ready and willing to accept constructive criticism on the effective- ness of our efforts. Too often, however, this type of criticism is not available and we are prevented from evaluating our own work objectively because of our closeness to it. Many times we can only say, "I t 's a good pot" or "I t 's a poor pot." The question of "why" is left unanswered and we find ourselves devoid of any concrete foundations upon which to build in making pots of better design. In such a case, we need to develop some positive and exacting ground rules for evaluating the good qualities of a piece of pottery.

The paramount rule to be applied in a critical evaluation is the impact of the first viewing - - the total visual impression. The unity of the related colors, shapes and textures must "fit together" nmch as the various move- ments of a symphony work together to produce a well- integrated total. The shape of the piece, the color and texture of the clay body and the glaze, and the structure and placement of the surface design are all pulled together during the first moment one looks at a pot. These must work together to build a total image in which no part is strong enough to destroy the unity. We can discuss these elements of design separately, but ultimately we

A series of pottery shapes illustrates the progression from a straight-sided form with no definition at foot or rim through varying degrees of articulation

"1

18 Ceramics Monthly

must ask how these separate parts work with the whole.

The development of a well-designed shape is prob-

ably most basic to this problem of total viewing - - or

"visual unity." A beautiful glaze and a well-organized decoration can never correct the faults of a poor form.

The space defined by the ceramic shape or group of

shapes nmst be so organized that it can be taken in bv

one continuous sweep of the eye - - ranch as the defin-

ing shape of a pmnpkin or a surf-washed boulder is

visually digested before one is aware of any intimate

subtleties of form. To clarify this concept, an imaginary

line drawn around the periphery of a shape and touch-

ing the piece at its outermost extremities will define

specifically the volume of space occupied by the mass of

the pot (Photo 1). This volume of space n~akes the first visual impact.

Groups of shapes which can be encompassed by a

single continuous sweep of the eye (Photo 2) are similar

in basic design to tile single enclosed form. Necks, handles

and spouts that are kept close to the "mother" shape,

even though they are active within the imaginary

boundary, work to enhance tile basic volume. But when

necks, handles or other protruding parts break through

the imaginary barrier too insistently, tile forms begin to

disintegrate visually and simply become a collection of

isolated parts. The basic form has been destroyed.

An abrupt change fronl one part of a shape to the

next can produce the same shattering effect to visual

unity. This can be prevented by giving some warning

when moving fi'onl one area to another. For example,

a curve can be introduced when moving from the

shoulder of a pot to its neck. In a slab-built piece, this

can he accomplished by the addition of a small roll of

clay (Photo 3). In a thrown piece, a slight change in

the direction of tile contour just before the neck begins

i; another solution to the problenl (Photo 1).

Another factor in achieving total unity concerns decisive action taken in terminating an upward or out-

ward thrust of a piece. A heavier rim gives tile feeling of

completion to an otherwise vague and undecided con-

tinuation in the sweep and contour of a piece. The prob-

lem of terminating the thrust of a pot can also be solved

by a slight shift in direction at the top edge. The articu-

lation of this final portion of a shape can be a decisive factor in arriving at the total unity of a form.

Tile visual activity at tile rim can be echoed in tile

treatment of the base and may range fronl a simple

undercut around the base to an elaborate high footrim

(Photo 4). Such a follow-through of consistent and uni-

fied design can give a piece a positive beginning and

end. We must think of a footrim as supporting the piece

and absorbing an}, shock which the piece might receive in handling; it also fimctions aestheticalh" by raising the

pot's mass and thus allowing air and" light to flow

beneath its major volume. This lifting character helps to impart a living quality in tile pot; we may compare

it to the admiration we feel for a person wl~o "stands

on his own two feet." A pot that rises abruptly from the

surface upon which it stands appears to be bound to that surface.

What happens to a shape between the foot and the rim is a factor in deternlining its unity or lack of unity

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Ala)' 1964 19

4. (Above) A high loot rim treatment gives "'lilt'" to a pot. It allows air and light to move under part o[ the main volumc o[ the piece.

in the final analysis. A continuous chain of related curves which produces a total movement is to be desired. If the shape breaks through the imaginary contour at too many points, the unifying effect may well be lost. I do not mean to imply that the contour of a pot should be one straight or one curved line without variation, for this could produce extremely drab and uninteresting shapes. Rather, there should be a subtle variation of shape within the general outline of the total space. Understatement is better than overstatement when visual unity of shape is involved. These subtle surface variations might be the throwing marks left by the potter's hands~ they might be definite areas that will be filled with a textural surface design; or they might be some simple minor changes in the evolving contour.

When a surface decoration consisting of a continuous band is used, this should be allowed to fall within a given structural area on the pot. This band might be a flattened area around an otherwise spherical shape, or it could be an area defined by raised portions of the surface (Photo 5).

Close adherence to any set of rules would soon stifle the creative urge; for that reason the ideas presented here for consideration in designing pottery shapes should not be thought of as constituting any hard-and-fast rules. Instead, they should serve only as guides for the potter in the continual experimentation and evaluation that he undertakes to solve the problem of a well-designed pot.

5. (Below) A de[inite termination to the upward thrust o[ the pot is made by depressing the rim with the [ore- [.inger at the indicated area.

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4

20 Ceramics Monthly

COLOR IN R E D U C T I O N GLAZES

THE C H O I C E OF M A T E R I A L S used in making glazes is very impor tan t if e ood results are to be achieved in reduct ion firing. For example, here are a few general observations I have lnade about some of the mater ials :

Tin oxide does not act as an opaci- fier if the kiln is reduced heavily m m u g h . . \ glaze conta in ing about 75} of tin oxide would be near ly opaque when fired in an oxidizing atmosphere: in a reduct ion atnmsphere it would be a clear glaze. I t is necessary to use about 105b of zirconium oxide for a successful opaque glaze in reduct ion firing.

Manganese dioxide is another ma- wrial tha t nearly disal)pears in reduction. I would judge tha t about three-quarters of the manganese used turns colorless. I t would be wonderful if manganese would behave in reduct ion as it does in oxidat ion, but it won't .

Each of the oxides has an affinity for oxygen- - some have more, some less. Some oxides give up their oxv- ~en easily while others lmld onto it quite stubbornly. I ron and copper oxides are among those that give up fl~eir oxygen easily and they are about the easiest of the coloring oxides for use in a reduct ion firing.

I feel that iron oxide is the easiest of all to use. Just 1 or 2% of iron oxide in a feldspathic glaze fired in reduction will ahvavs give color that is quite different from tha t given in oxidation. T h e quant i ty of iron that can be used is linfited, however.

In the average glaze tha t produces a cclad(m color, 1% of iron gives a imle blue or green color and 2% produces an average celadon color. An increase to 4% produces the grayed or warm celadon known as the northcrn ccladon: this has nrore of the olive- ,_,teen color seen on much of the ware made dur ing the Sung per iod in nor thern China. By increasing the amount of iron oxide to 6%, a rich vreen-brown color results; 8% of iron can give a rich black-brown color, with med ium brown where the glaze is thin. A sa tura ted iron glaze results from the use of from 10 to 125~ : this

by F. CARLTON BALL

is a rich i ron-red color tha t was known in the Sung Dynasty as a " tea dust" glaze• If the glaze is very thick, the color may be a p lum or violet- rust: if it is ttfin it may be a bri l l iant rust red.

When as nmch as 10 to 125~: of iron is used in a olaze, not all of it can be reduced or kept reduced. When the glaze is molten, all of the iron can be dissolved in the glaze: when it cools, however, some of tim iron crystallizes out on the surface. These minute needle-like iron crystals can o-ire the red or p lum colors. When more than 12% of iron is used, the iron fluxes the glaze terrifically and, on cooling and crystallizing, the crystals are too strong and the glaze ugly.

Copper oxide is ha rder to use in a glaze. In a glaze tha t will work well for' a copper red color, .55c of copper is enough with the proper reduct ion atmosphere. I have made copper red ~lazes with as little as .12% of copper and with as nmch as 25e, but the addi t ion of . 5 % is best. A large amount of copper in a glaze produces an ugl.v black and actual ly eats into the clay.

I f the glaze is underf i red slightly in a good reduct ion atmosphere , i t usual- lv gives a pink color: fired higher, a good red should result; if overfired. the same glaze may be a very br i l l iant and beautiful red.

If a cot)per red glaze is appl ied thinly, it will be co lor less - -a t least, this is the var ia t ion tha t I get in my usual methods of fMng. Theoret ical ly , COl)per reds are bet ter if the kiln is oxidized for a per iod at the end of the firing. I have found tha t from 15 to 45 minutes of oxidat ion at the end of the firing gives good results: an hour or more of oxidat ion is not as good.

Cobal t oxide is not affected by reduct ion a tmosphere and gives an intense blue in ei ther oxidat ion or reduction. I t is affected by other oxides, however, in ei ther kind of atmosphere. Glazes high in mag-nesium and colored with cobal t give a mauve or red- violet color. Glazes high in zinc give a good clear bluc blue.

Cllronfimn oxide is sinfilar to cobalt ira many ways: it seems to be about as powerful , and from .5 to 1% is all that is needed for color. By itself, chromium ~ives a strong br ight green in most glazes, just as cobal t gives a strong blue. However , I feel that both the green and the blue are too raw and intense when used by then> selves. When blended together in small quanti t ies of about . 2 5 ~ each, a bet ter color can be made. I f iron oxide is added, it ~ a v s the color and g-ires a still bet ter appearance .

Chronfiunl by itself produces an opaque glaze: however, a glaze color-- ed with .5cc of chromium and ocer- fired can give a beaut i ful t ransparent result. I f the glaze has a large amount of zinc oxide in it, and if ch romium is used as the colorant, the result will be tan or bronze instead of ~ e e n .

Ruti le is an interesting coloring material . I t is the crude ore from which t i tan ium oxide is m a d e ; it is simply t i tanium oxide with impurit ies of iron oxide in it. The addi t ion of t i t an ium makes most glazes textured or ma t : the iron general ly imparts a warm or tan color to the glazes. Rut i le is usually added in amounts from 5 to 10eb. T h e addi t ion of 10% rutile to a cone 10 shin}, glaze gives an opalescent blue color• As the glaze is overtired, the blue color is intensi- fied. but it becomes mot t led or streaked with blue-white. This is a ra ther gaudy glaze but it seems to be much admired.

Black underglazes are interesting materials for use in coloring glazes• Most blacks are blue-blacks or green- blacks: a vmw few are wel l -balanced blacks• The addi t ion of anywhere from .12 to .5% of various black underglazes or glaze stains can produce beautiful pale grays, grayed greens, and grayed blue colors.

I believe tha t I have touched on tim most impor tan t areas of reduct ion firing in this series of articles. Cer ta in- lv there is nmeh vet to be learned about reduct ion firing and it will take nmch work. close observation, carefully recording of results and a great deal of luck!

Ma)' 1964 21

Unglazed coin bank in the shape o[ a bull is made [rom red clar decorated u'ith a'hitc

sllp. Opening [or inserting nton,'y is cut in the back o[ the nec£, alongsid,' tlt,' handle.

POTTERY b v H E L E N

BANKS YouNo

(:LAY PROJECTS are ahvays in d e m a n d for children, and

since youngsters are invariably interested in model ing

animal figures, why not be pract ical and let them turn

their animals into toy banks? One 's first impulse is to

start with piggy banks, but why only pigs? Of course, the

p lump contours of a porker do suggest ample space for

pennies. We are famil iar with iag banks of pink, blue,

and purp le ; we find them wearing sprays of roses and

clover blossoms, to say nothing of pansies and forget-me-

nots: and there are fragile dime-size banks and those

large enough to hold a quar t of s iher dollars. We can

devise still other kinds of pigs - - or be even morn original.

Chi ldren like to make dogs, cats, rabbits, horses,

cows, clfipmunks, elephants, and birds. They can also

model their own versions of men and women and chil-

dren. houses, barns, trains, cars, or any object with a

hollow interior large enough to become a bank by the

simple addi t ion of a slot cut in the top or side.

A bad feature of some clay banks is that once pen-

nies are dropped in the slots, it is necessary to break the

22 Ceramics Monthly

banks to retrieve tile money. We can correct this situation

by cut t ing a ronnd hole in the bot tom of the bank when

it is made. The d iameter of the hole should be the same

length as tile slot in top - - the width of a coin. After

the bank is completed, this hole can be fi t ted with a

cork. Whi le this puts the user of the bank strictly on his

honor, it does sohx, tile problent of removing the money

without breaking the bank. The first pot tery banks we know about were made

in ancient Greece, and were in the form of urns. There

may possibly be some connection between these and the

old family teapot G r a n d m a used to hide in the pant ry

for saving the eo-o- money! Come to think of it, why not

shape a clay bank in the form of a teapot?

Potters in many other count,-ies have exper imented

with making banks. Sometimes these were used only as

ornaments, but more often they were designed to hn'e

spendthrifts into thrif t ier habits. Ant iquar ians are enthu-

siastic about mechanical metal banks which often perform

amazing and ingenious tricks quite beyond the abil i ty

of potter), pigs. Thus, banks are as interesting to study as they are to make.

Clay banks can be used for depositing other things than money. There are men who do not use electric razors and therefore must solve the problem of what to do with old razor blades. I t takes little variation in a clay bank to turn it into a razor bank. The pottery squash and the bamboo stalk illustrated here are made to order for this use, ready to hang on a hook in the bathroom. Each one was made with a loop of resistance wire inserted in the clay before firing. A similar wire loop may be put into any clay bank which is to be used as a money bank, thereby making it more convenient to display and use.

After deciding on the size and shape of your bank. consider the possibility of using a two-piece plaster mold already on hand for its basic form. This could be a tea bowl, a cup, a flat vase or a cylinder. For example, pour slip for two cups. When dr), enough to handle, join the two rims together with slip. Smooth the joint, then gently press the hollow form into whatever shape you have in mind and at tach bits of clay for ears, legs, tail, etc., and then cut a slot in the top or back for inserting money. This slot should be a trifle less than ~ inch wide and a bit longer than the width of a coin. A dime is about ~ inch wide, and a fifty cent piece is about 1¼ inch. R e m e m b e r that clay shrinks as it dries.

I f you decorate the bank with engobe or colored slip, apply it while the clay is still leather hard. Dry thorough- lv before firing.

There are several ways to decorate a pottery bank,

and some of the most effective techniques are as follows: 1. Dip a fine water color brush in slip of a con-

trasting color and paint a design, as in the red bisque bull shown here. The animal was made of terra cotta clay; the design is made with white slip.

2. Decorate the leather-hard clay with colored slip. Fire, then either leave in the bisque or cover with a t ransparent glaze and fire again.

3. Cover the piece with a single colored glaze or decorate the bank with a series of brushed-on glazes.

4. Glaze with t ransparent glaze, fire and then paint a design with overglaze color and fire again.

I f you have no plaster mold, shape a ¼ inch-thick slab of clay on a core made by tightly wadding a piece of newspaper or paper towel into a ball. The paper base will be pliable enough to allow the clay to dry without cracking. The paper will burn away during firing: therefore, it may be completely enclosect with clay.

Next, roll out a lump of clay between two ~ inch thick strips of wood. Use either a rolling pin or a piece of wooden dowel to do this, making a smooth, flat slab. Cover the paper core with this pancake of" clay and fasten the edges together firmly with slip. Smooth the surface and gently press into the shape you have chosen. Add ears, legs, wings, or other details called for, fastening them to the body with slip. Then finish in one of the ways suggested above.

If yon are working with children, encourage them to develop their own ideas. Remember that imagination is always better than imitation, and the final results will be as varied as the children themselves.

Highly-decorated coin bank in the [orm o/ a smug cat has money slot clez'erly disguised among the brushed decorations on the back.

iii~ I

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7"ypical Mexican pig bank (aboz'e) is. decorated with underglaze colors. Clay banks in the /grin o[ squash and bamboo (below) have wire loops [or ;hanging.

.llay 1964 2'.2

CLAY-AND-STRING CANDLESTICKS by DIDIER JOURNEAUX

PULLING STRINGS is said to be useful for getting ahead in the world, but it can also. be used effectively for aesthetic purposes. Contemporary sculptors often use the device of stretching "curtains" of string between surfaces of stone, metal, plastic or other materials. String can also be used to embel- lish utilitarian objects - - particularly those that are not handled too frequently.

Within the realm of objects that the potter makes, a ceramic candlestick takes on an added attractiveness when it is enriched with a decoration of strings. If transparent nylon is used for this purpose, it catches the light given off by the candle itself and by other light sources. When the different strands are not parallel, they reflect the light in different directions, presenting a sort of "northern lights" effect that is quite beautiful.

The candlestick illustrated here was made from unglazed dark-firing clay and strung with transparent nylon monofilament spinning line 0.025 inch thick that is credited with a 40 pound test strength.

Any good throwing clay may be used for this project but it should contain about 15% of fine grog and be fired below its maturity to reduce warping in the kiln. Too much grog or a grog that is too coarse may make it extremely difficult to drill neat holes for the stringing. Fusible particles used for giving texture to the clay should be avoided as they too may clog up the holes.

The simplest way to make the candlestick is from four pieces: three legs and a cup. The cup ~ ) * / is thrown as a solid cylinder; when it is leather hard it is returned to the wheel and a slightly tapered hole is cut into the top. (A hole that is 1 inch in diameter and 1 inch deep should fit a 7~-inch candle after firing.) The cup is then turned upside down and trimmed to a bullet shape.

Candlestick is made o[ unglazed dark-[iring clay. The "curtains" o[ string are made with transparent nylon spinning line.

The legs are made from a slab that is large enough to cut all three sections. A slab of correct thickness is produced by rolling the clay on side strips of wood that are ~ inch thick.

After the slab is rolled, it is a good plan to cut it into three pieces, each large enough for cut- ting one leg, then set these three pieces aside on plaster bats to stiffen just slightly. At this time the top surface of the clay should be carefully polished with a rubber rib or some other object. The purpose of this step is to make it easier to see the markings that will be made on the surface later on.

A template is used to make the three legs identical and can be made from any thin card- board such as a manila folder. I t should be made about ¼ inch larger in each direction than is needed. You may wish to try a different-than-usual method for ma, king identical units, such as the one demonstrated here: The outline of the leg unit and the pattern for the placement of the holes for string are made by pricking the paper pattern with a darning needle. The pattern is placed on a pad of soft cloth for this operation, and the holes are made at intervals of about ¼ inch along the outside edge of the leg. The holes at the bottom are nmch closer. The side and bottoin have an equal number of holes: at the corner where they

meet, a single hole terminates each row.

The needle marks leave slight burrs on the wrong side of the template, and these are used to good advantage. When the tem-

b plate is placed on one of the clay slabs and rubbed very gently, the burrs are pressed into the clay to form chains of tiny "dimples" in the surface. The template is removed from the clay immediately to keep it from becoming damp. When the clay can be cut without deforming it, a fettling knife

24 Ceramics Monthly

is used to cut through the outer series of dimples to form

legs of the correct size.

Because the leg tapers to a point at the top, it is a

good idea to leave some excess stock at that point. This

can be removed later on when the leg has been joined

to the cup. You will also notice in the photo of the

template that there is an extra section on the bottom

left-hand side. This is a temporary support to hold the

candlestick erect while it is being assembled; it will be

removed later on.

When the legs are cut out, each one can be placed

between two plaster bats to dry to the leather-hard stage.

The inside row of holes for the strings may be

pierced or drilled either before or after the leg is cut

to size. A darning needle makes a neat hole but it does

leave a swelling around it. A twist drill may be inserted

in a length of dowel and held in the hand to make a

hole that is perhaps the closest to the vertical. The clay

leg can be placed on the table surface for drilling; in

this way the drill does not quite pass through the clay.

If the leg is placed on another clay slab for drilling, this

permits the drill to pass all the way through the leg, but

it necessitates re-smoothing the clay on the under side.

This also clogs the holes to a certain extent and the}"

must be reamed out a few times.

For reaming the holes, a darning needle or fine

toothpick may be pushed through them. These leave

fewer burrs than the drill does, so that there is less re-

reaming and polishing to be done.

The size of the holes is important in this project.

A holes that in 1/32 inch in diameter would be large

enough to pass the string through and intrude the least

cn the vision, but it would also be likely to clog up at

various stages of the work. A hole 1/16 inch in diameter

is less troublesome and it is wide enough to accommodate

both ends of a length of string for fastening. Even then,

care nmst be taken to avoid clogging the holes during glazing.

The leg sections are easily assembled on a banding

wheel. The top areas should just touch where the base

of the cup is to rest. The clay edges just above the

temporary feet are beveled so that the three joints meet

on the axis. The beveled edges are scored, coated with

slip and carefully pressed together for a good joining.

A triangle should be used to check that the legs are

vertical: a ruler can be used to determine that the outer

corners are equal distances from the center.

The cup is scraped flat where it is to engage the

legs, and these areas are scored and slipped and the cup

pressed into place with its top absolutely horizontal. This

can be checked by whirling the banding wheel and

observing if the top surface wobbles.

As soon as the joints have hardened, the'," are

smoothed with a modeling tool. Since the edges of the

legs are concave, they may be left with square edges

without appearing too hard. (Convex edges are usually

improved in appearance if they are rounded.) The

temporary feet can also be cut off at this time.

When the unit is completely dry, it is checked

over before firing. It is important to observe that no

holes have remained clogged; it also is essential to see

1. 7cmplal~ .[,,~ ma,~ipl,.,, Its, l/l~,, I,Z', i, ~a~d l ; ,a~d

pierced with a needle [or indicating outlim" attd slrine-

in e hole~.

i?i:

2. Components [or the candlestick include three slab-

[ormed legs and a cup sections that is thrown and t rimmed.

I

--....,%

3. Holes [or stringing are pierced with a 1~16-inch drill

bit [astened in a length o[ wooden dowel rod.

?vIay 196.t 25

4. The three legs are assembled by beveling the joints at the bottom and pressing them care[uUy together.

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6. Bottom vww o[ the candlestick shows how th, 3 di[fercnt loops el string [orm a series el nested p),ramids.

26 Ceramics Monthly

5. Stringing with nylon line starts with the [irst pairs o/ holes on all three o.[ the candlestick legs.

that the number of holes is correct. I t is possible that a hole can become "lost" and this would ruin the whole system of stringing.

Stringing of the fired unit is a simple operation. but an undetected error may require tearing out all of the strings and starting over. As noted before, each leg has a certain number of holes on the outside vertical edge and an equal number in the bottom horizontal row. At the bottom corner, a single hole terminates both rows. In the example shown here, there are 27 holes on the outside and 27 at the bottom; in addition there is an extra hole at the corner.

The stringing consists of a series of similar loops strung through successive pairs of holes. The first loop is strung through the inside pairs of holes of all three legs. Designating the inside top holes of the three legs as 1T, 2T and 3T, and the inside bottom holes as 1B. 2B and 3B, the loop runs from hole 1B through holes 2T. then on to 3B, 1T, 2B and 3T and back to hole lB. The loop thus has six strands going twice around in zigzag fashion. Its two ends enter hole I B from opposite directions and are wedged in it by a sliver cut from a toothpick. But as nylon is very slippery it needs to be squeezed tight by pushing the point of a brass dress- maker's pin (cut about ¼ inch long) into the hole with a pair of needle-nose pliers.

The stringing must be really taut, not only for a good appearance but also to take care of any stretching of the nylon in damp weather. This is facilitated by first

immersing the spool of string in a bowl of water. The

wet nylon stretches quite a bit and becomes soft and

flexible. Starting from hole 1B, each strand in succession

can be pulled taut with a pair of needle-nose pliers

wrapped with surgical tape. (There is of course a possi-

bility of pulling the string too taut. In such a case it

may pull out of the holes after it is dry.) The slack is

thus brought gradually to the last strand returning to

hole I B and is taken up by pulling the end of the string

with the free hand. The ends sticking out may then be

cut flush with a sharp knife (one that you don ' t mind ruining).

The succeeding loops are strung in the same man-

ner through successive pairs of holes. The last loop

strung through the single hole at the outer corner goes

only once around without an t" zigzagging; this gives a

neat outer edge to the stringing. The ends of the loops may be fastened in other

ways that may be convenient, such as glueing or pinch-

ing the ends under other loops at the expense of ap-

pearance. The entire stringing may be made from a

single piece of string, but passing it through all of the

holes is a seemingly endless and confusing job. The

string also becomes scratched and loses its luster.

A few hours after stringing is completed, the wet

nylon dries and shrinks so that its tension increases; it

is not likely to sag in damp weather. The bottom view of the candlestick shows how the

different loops are arranged in a series of nested pyra-

mids. To avoid bunching of the strings where they cross,

the successive loops should be spaced at least 0.05 inch

in a direction away from the axis. This requires that

lines joining pairs of holes of one leg should be spaced

at least 0.10 inch. At the same time, adjacent holes

should be spaced at least i~ inch apart as it is difficult

to drill them accurately. They should not be spaced

more than p~ inch apart to avoid a skimpy appearance.

A really pleasing result needs a bit of planning!

A symmetrical design is, of course, the safest since

it precludes contradictions between different sides. How-

ever, a more ventm'esoxne approach is more fun. Illus-

trated is a nine-inch candlestick which actually started

with three slabs forming the cup as well as the legs.

The slabs were welded together, twisted and pushed

around, and clav was added and removed until it seemed

that further treatment would make the piece look worse instead of better. (Illustrated, right top.)

Each of the three sides of this unit has a separate

stringing, and each loop consists of only two strands

strung through two adjacent pairs of holes. Each hole

was drilled from a visible surface of the piece into the

side of a narrow groove in order to conceal the looped and free ends of the strings.

The other candlestick departed even morn froln

symmetry. It was carved from a solid block of leather-

hard clay and some extra clay was added at protruding

points. The entire stringing of this 12-inch candlestick

extends across the central cavity between flanges pro- vided on the walls of the cavity. (Right, bottom.)

These three candlesticks are just a start on what

might be done by this method of working. If the imagina-

tion is set to work, the possibilities are unlimted.

i ! ~ ! i ii ~ :~

~<,},, • . . . . . . . . ~ , ~ , ? " ~ : : ~

31ay 196-I '27

Summer Session at Idyllwild

people

dedicated to the cultivation of the arts by of all ages in a beautiful, inspiring outdoor setting 99

Ceramics instructor Susan Peterson work~ with a ~tudcnt in the Lore Stcere Sculpture and Ceramic Studio.

Each ),ear at this time, CERAMICS MONTHLY com- piles an up-to-date listing of sumn~er workshops that offer the ceramist an opportunity to combine vacation travel with hobby fun. The photos on these pages show some of the activity - - and the results - - of a summer workshop under the direction of Susan Peterson at Idyll- wild, California. The list describing this and other summer workshops starts on page 12 of this issue.

T H E I.]NIVERSFrY OF SOUTHERN CALIFORNIA Idyllwild Arts Foundation in Idyllwild, California, offers during its smnmer session three 2-week workshops for adults in ceralnics. Each session is designated for beginners, advanced students and teachers under tilt" direction of Susan Peterson of the Fine Arts Departnlent at U.S.C.

Instruction is given in handbuilding techniques. throwing on the potter's wheel, clay bodies and glaze developnlent. Students froin the Southwest as well as other parts of the country work in an outdoor atlnosphere, employing some of the indigenous forest materials (rocks. bark, pine needles and pods) in decorating effects on the clay. California clays are used for the stoneware body and all work is fired at cone 5 in an oxidation atmosphere. Cerainics classes are held in the Lora Steere Sculpture and Ceraniics Studio.

In addition to cerainics, art workshops are offered

28 Ceranlics Monthly

in painting and drawing, design, sculpture, block printing,

enamel-on-copper and mosaics, and crafts for elementary

schools. Each workshop requires full-time work during

a session; therefore, only one arts and crafts workshop may be taken at a time.

Students whose works are of a sufficiently high quality may have them placed on exhibit and sale in

the gallel)" at the Bowman Arts Center. This provides the artist with an opportunity to see what interest his work may create and how saleable it may be. Another

opportunity offered at Idyllwild is attendance at a 10-day lecture course on "The Art of the Oriental Potter," given

by Dr. Jon Covell at her home in Idyllwild. The 250-acre campus of the Idyllwild Arts Founda-

tion is situated in the San Jacinto Mountains about a

two-hour ride from the Los Angeles area. The 38 build- ings are fine examples of modern architecture using na-

tive materials and are beautifully adapted to the environ-

ment. The mile-high air is clear and smog-free. The humidity is low; there are usually two or three short

thunder showers during the summer, but otherwise the

sun shines brightly every day. The weather is so ideal that many classes are held outdoors.

Leisure-time activities at Idyllwild include swim- ruing, hiking, horseback riding, folk dancing, campfire sings, nature talks and demonstrations, movies, plays, con-

certs and recitals. Weekend trips may be made to Holly-

wood, Disneyland, the early California Missions, and the Pacific beaches.

Right: (Top) Instructor Dorothy Lewis supervises copper enamel work in the Cra[ts workshop; (Bottom) A group o[ stoneware pots made by ceramics students.

Below: A corner of the ceramics studio shows students working on the wheels and handbuilding.

om

_ ~ !.~.~ '~:

! ,~ • ~ . ~ . . . . .

A TRADITIONAL DECORATION

Double-color

in this gay

brush strokes are used effectively

and color[ul decorating project

demonstrated by MARC BELLAIRE

THE BIRD is one of the most versatile motifs for decoration because it can be made to fit almost any space. In addition, it is gay and colorful and can be adapted for use with either traditional or modern shapes.

The greenware coffee pot that Marc Bellaire selects for decorating is rather plain and uninvolved in shape and it presents two large areas on the sides that are excellent for decorating. In fact, these decorating areas are so uncomplicated that they suggest the use of the rather flat pattern-type design that we think of as traditional. Some of the styles that immediately come to our minds when we see the word "traditional" are French Provincial, Early American and Peasant. We associate the use of such decorative detail as fruit, flowers and birds with these styles.

Marc Bellaire's choice of style for this particular shape is Early American; the motif is a very simplified bird in a tree. The first step after cleaning the greenware shape is to sketch in the design with a soft lead pencil. The bird is roughly centered in the large decorating area on each side of the coffee pot, then curved lines that suggest a decorative tree are added to fill in the remainder of the space (Photo 1.)

Much of the brush work for this project is done with double color. For this technique, the large watercolor brush is first filled with light green underglaze, then one side of the brush is dipped into either a medium green or aqua color (Photo 2).

The brush is used in two different ways with the double color to achieve an effect of light and shadow for the design. The watercolor brush is used in prints to make the leaves and with moving strokes to cover the

30 Ceramics Monthly

larger area for the bird (Photo 3). In making the lower strokes for the bird, the brush is held with the darker color at the bottom to create the shadow effect.

Accent strokes for the tail feathers and wings of the bird are made with the liner brush. Sharp strokes are done with the medium green color for the background tail feathers; over these some snlaller strokes are made in a deep teal blue. The teal is next used for the row of decorative feathers that delineate the bird's wing.

Short brush prints are made with the same color and the liner brush to suggest the double row of feathers on the neck and for the small strokes that make up the beak and eye.

The teal color is repeated in making the lines for the stems and for the leaf divisions. Teal accent strokes on the lower parts of the leaves repeat the effect of the double color done earlier in this decoration (Photo 4).

A few flowers are added now in a medium brown underglaze. Each of these is made with two prints of the liner brush to form an upside-down heart-shape flower. A few accent lines in brown are added to the bird and these consist of liner strokes for wings and feathers, bands for the neck, and a lively topknot on the head inade up of hat-pin strokes. Accent lines on the tree include tendrils, spots on the leaves and a few delicate shadow strokes (Photo 5).

Because of the elaborate character of the design on the coffee pot itself, decoration on tile lid is held to a minimum and consists of simple bands of blue and brown. After bisque firing, the piece is covered with a transparent mat t glaze and it is fired again to finish the project (Photo 6).

1. T h , , id , '4 th, , , , / / , , pot i, / i l h d i , ; , i th a l , ,~ , i l

sketch that include~ a simpli[ird bird in a tree. 2. Brush i, p r , ' pa l , d /or doubh ~,,I,,t z ~ , ~ t)y / i l l i ,~ it

wi th light green, then dipping one side in darker green.

3. 7"u 'o-coh, ~lrok~, and print~ a~ u,~d I~ ,ug ,~ , t th~

body o[ the bird and the leaves o[ the tree. 4. D('coratiz'( accent .qlok(.~ ar~' mad~ a i t h I, al blm [~,

the feathers, stems, leaf divisions and shadows.

5. Fini.,hi,.~ d, tad, , , / ] / , , :~ ,~ , I, , : h i / , and hat-pin ,1~o/,, ,

are made wi th liner brush and m e d i u m brown underglaze. 6. C¢;mpl, ~, d , ,~//,, l . , t , ll , ,;, , lid d . . . . ~(it, d c, ~/i ,;.if ,I,

banding in brown and bluc underglaze.

M a y 1964 ;~1

ENAMELED STORAGE DEVICES by KATHE BERL

MODERN LIVING has brought us many labor-saving devices that we "cannot live without." It also has taught us to live without many things that we thought were absolutely necessary! For example, many persons find that they must live without a regular kitchen. It can be done, but it involves a lot of scientific thinking to assign places for all of the needed dishes, utensils and paraphernalia in the nook or closet-like spaces allotted for this use in many apartments and small homes. Every bit of wall and cupboard space must be carefully planned for hanging and storage purposes. Two of the spaces in and around cupboards that can be nicely utilized are any spare wall spaces and any unexploited areas under existing shelves. These are valuable areas that should be considered by the enameler as "fair game" for his planning and designing ability.

The idea presented here for utiliz- ing any extra wall space in the kitchen may also be adapted for use in any other room in the house. The basic idea is a sort of enameled peg board that can be used for hanging or suspending all sorts of kitchen items. The principle is much the same as was presented in my column for last month--an enameled metal cover or shell encasing a wooden board. Holes going through the metal and into the wood afford a place for attaching hooks for suspending different kitchen gadgets. The size of an individual wall unit would be determined by the size of the kiln available for the enameling, but a large area could be covered by using a number of units assembled together.

It is easier to fit the enamel to the insert than the other way round, so start with a piece of plywood. Trace the outline of it on 20-gauge copper, add the thickness of the wood on all four sides and cut this out. Next, bend down the sides over a bench anvil. (This process is quite similar to the one fully described last month.)

The screw type hooks that are often used for hanging teacups and pot-

32 Geramics Monthly

holders are excellent for use on the enameled pegboard. Get a number of these and drill holes of the correct size through the metal casing and into the wooden panel beneath. You may want to use a pattern similar to

that of pegboard, or arrange any other pattern that may fit your particular needs. Another bit of planning that must be done at this time is to decide how the wooden panels are to be attached to the wall. If this is a per- manent installation, you may wish to screw or nail the plywood unit direct- ly to the wall before progressing with the work here.

The next step is to clean the metal and enamel it according to your wishes. When it is fired, it can be pressed over the wooden panel and secured simply by screwing in a few of the hooks. The remainder of the hooks can be inserted later, when you are ready to use this new kitchen aid.

The working plan for doing a larger unit composed of several enameled shells would necessarily be different. Only those metal shells on the outside would need the turned-down edges; any of these in center positions might just be fiat tiles.

My second suggestion is for utiliz- ing the waste space that most of us have between cupboard shelves. To make use of this space, I suggest a metal enameled Merry-Go-Round or hanging "lazy Susan" to attach under a shelf. For this we need a wooden disk about V2-inch thick and approxi- mately 6 inches in diameter. It can be wider, but it must be at least 4 inches smaller than the width of the shelf under which it will fit.

The first step is to prepare two

copper circles of 18-gauge copper the exact size of the wooden disks. An- other sheet metal disk is needed, but since it is not to be enameled, this one may be of 18-gauge brass; it should be just 2 inches in diameter.

For the pivot of this contraption we need a center bolt whose length is determined by adding up the thick- nesses of the four disks: the wooden one, the two copper ones and the brass one. Add to this the thickness of two metal nuts and the cupboard shelf to which the unit is to attach.

The pivot unit is made by working with the bolt upside down so that its head is at the bottom. A hole the size of the bolt is drilled in the center of the brass disk, so that it can be slipped down and rests at the bottom of the pivot. The next thing needed is a short piece of metal tubing that will fit comfortably over the bolt; its length is just a bit more than the total thickness of the three other disks. This tube is hard-soldered over the hole in the center of the brass disk. Next, drill holes in each of the three disks so that they will fit over the piece of tubing. The tubing, you see, is a sort of "sleeve" for the revolving device!

One more metal piece is needed, the copper metal strip that goes around the outside of the wooden disk. This strip must be as wide as the wood thickness plus the thickness of the two copper disks. Its length must be the circumference of the circle. At each end of the strip, holes must be drilled for attaching it to the wooden disk with a small screw. Tem- porarily assemble the strip on the


CERAMACTIVITIES CERAMIC NATIONAL ANNOUNCED

The 23rd Ceramic National will open

at the Everson Museum of Art, Syracuse,

New York, on November 14 and remain

on view through January 2. It will

begin the first leg of its two-year circuit

to museums from coast-to-coast with the

January 28 (1965) opening at the Museum

of Contemporary Cra[ts in New York City.

Entries for this biennial will be screened

at regional centers in the United States

and Canada during the late summer and

early fall. The members of the final jury

of selection and awards will include pot-

ters Nicholas Vergette and Edwin Scheier,

and Charles Sawyer, museum director.

The prospectus on the show is available

by writing: The 23rd Ceramic National.

Everson Museum of Art, 407 James St.i

Syracuse 3, N. Y.

attracted a total of 4't6 entries by present

and former residents of Ohio. Of this

number, 215 pieces were accepted for

showing. The juror for this year's sho~

was Dr. Paul A. Chew, Director of the

Westmoreland Count), Museum of Art. Greensburg, Pa.

Top award winners were John M. Zeil-

man, Gerald Dumlao, Jan Jones, Norman

Magden, Jane Parshall and Denis Chasek.

Miska Petersham, Dorothy Getz, Stephen

Mikola, M. E. Goslee, Hal Hasselschwert,

Dorothy D. Yost and Elizabeth Ash. Pic-

CRAFT LEAGUE EXHIBIT

The thirty-second annual exhibition of

Cra[t Studenti League will be held

through Sunday. May 24 on the fourth

floor gallery of West Side Young Women's

Christian ~.ssociation, 840 Eighth Avenue

at 51st Street. New York Citv.

Work done by students and teachers

during the current year will be on dis- .......

play, including oil paintings and portraits,

watercolors, jewelry, ceramics, lapidary,

hand-bound books, hand-woven cloth,

fused glass, tapestry, woodworking, draw-

ing, applied design, silver pieces of original

design, enamels, silkscreening and terra

cotta, wood and stone sculpture.

MICHIGAN ARTIST-CRAFTSMEN

The 18th Exhibition for Michigan A rtist-Cra[stmen was held at the Detroit I n s t i t u t e o[ Arts f r o m J a n u a r y 14 through February 9. On view were 314 items of ceramics, textiles, metalwork a n d miscellaneous crafts selected from 1107 entries. The decorated stoneware vase (pictured) by Robert Diebboll was awarded the Michi- gan Potters Associa- tion Ceramic Prize. Other awards in ce- r a m i c s w e n t to

Louis B. Raynor, Richard E. DeVore,

Frederick W. Shepard, Rene Salzman and

Renee Goldin. Jurors for this event were

Mrs. Hedy Backlin, Edwin Scheier and Ted Hallman.

OHIO CERAMIC ANNUAL

The 16th Annual Ohio Ceratnic and

Sculpture ,-qhow, sponsored by the Butler

Institute o[ American Art, Youngstown,

tnred is the .juror with John Zeilman's

"Warr ior" (left) and Miska Petersham's

"Compote" (r ight) .

COMBINED-MATERIALS WORKSHOP

An unusual two-week workshop will be

conducted this summer at Harbor House.,

Elk. California. Participating will be three

well-known craftsmen, each of whom will

instruct in his own particular area. The

specialized crafts are clay. thread and

fabrics, and metal and wood: instructors

are Hal Riegger, Da:,id eanDommelsen

and Bill Brewer. Information may be had

by writing Bill Brewer, Harbor House. Elk,

California, or Hal Riegger, 469 Panoramic

Hwy., Mill Valley, Calif.

TRADE SHOW PLANS ANNOUNCED

The Third Annual National Ceramic

Trade Show and Con/erence will be held

in Atlanta, Georgia, July 9-12, reports

Phil Skutt, show chairman. An outstand-

ing program of continuous demonstrations

by top artists in the country will be one of

the highlights of the four-day manufactur-

er's show. Seminar sessions will be con-

ducted on such topics as better ways to

operate profitable studios, fundamentals of

teaching ceramics, and financing a ceramic

business. A special feature of the conven-

tion will be the inaugural showing of a

new color strip-film that is designed as a

sales tool for use by dealers, distributors

and teachers. The show is open to the

ceramic trade only. Ole~,ia Higgs is pro-

gram chairman for the coming show; Bob

Duncan is president of NCMA, the spon-

soring group.

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May 1964 33

H A N D B O O K S U s e d b y t e a c h e r s e v e r y w h e r e . I d e a l f o r h o b b y g r o u p s , schoo l s . a r t a n d c r a f t c e n t e r s . T h r e e - color c o v e r s ; p r o f u s e l y i l l u s t r a t e d s t e p - b y - s t e p p h o t o t e c h n i q u e . CERAMIC PROJECTS by Thomas Sel- lers. An outstanding selection of projects fro" the classroom, home and studio. Fountains. planters, jewelry, bottles. bowls and other items. 64 pages, $2.00 COPPER ENAMELING by Jo Robert and Jean O'Hara. Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. In- cludes fundamentals and illustrated how- to-do-its on jewerly. 64 pages, $2.00 UNDERGLAZE DECORATION by Marc Bellaire. This complete handbook has all the answers on materials, tools and techniques. Step-by-step projects are profusely illustrated. 64 pages, $3.00 TIIROWING ON THE POTTER'S WHEEL by Thomas Sellers. Here's a complete manual on how to use the potter's wheel. Covers all basic steps from wedging clay to making specific shapes. Over 200 photos. 80 pages, $4.00

DEALER INOUIRIES INVITED I

I I I Please send me the following:

.copies of CERAMIC PROJECTS @ $2 copies of COPPER ENAMELING @ $2

I copies of UNDERGLAZE DECORATION @ $3 copies of TIIROW1NG ON THE POTTER'S WHEEL @ $4 I Name

CERAMICS MONTHLY Book Department 4175 N. Iligh Sl.. Columbus 14. Ohio I

I

I Address_ City Zn . . . . Slate

I I enclose ~ Check [ ] Money order ~tVI,; PAY POSTAGE (Ohio residents add 3% sales tax. I

SUGGESrI'IONS 1"0111 o l t r readct•s

GLAZE CONSISTENCY I find that mo~l of the trouble beginning ceramists have

with glazing comes about because they do not know the proper consis tency of glaze for the different me thods of applicat ion. General ly, glazes should be of a creamy c o n s i s t e n c y - n e i t h e r too thick nor too thin or water)'. T h e thickest consistency is needed for b rush ing the glaze onto a piece: a sl ightly th inner glaze consistency is best for pour ing or d ipp ing : and for spray- ing, it shonld be th inne r yet but still not watery. Wa te r should be added to the glaze in very small amoun t s until the desired consis tency is reached• C. Williams, Albany, N.Y.

USE FOR ATOMIZER I t is somet imes difficult to keel) a lea ther -hard piece in

good working condi t ion for carv ing or any o ther type of decoration tha t mus t be done while the clay is still damp . I keep on hand a small a tomizer filled with water and occasionally give the piece a l ight spray to ma in ta in the clay at the desired consistency for my work. - -C . Morton, Palo Alto, Calif.

COUNTER ENAMEL HELP C o u n t e r enamel ing can present many problems for the be-

g inn ing enamele r and unless these can be solved successfully, he may decide to omit this impor tan t step. I have found that in most cases it is best to counte r enamel before con t inu ing with the rest of the ename l ing ( a l though there are t imes when all of the ename l ing can be fired at one t ime) . I would strongly r ecommend under f i r ing the counte r enamel just enough to pro- duee a pebbly surface, no t a glossy ma tu r e one. In this way, the coun te r enamel can be b rough t to its ma tu r i ty dur ing the fir ing for the enamel on the top surface of the piece.

J. M. Vincent, Ea+t Lansing, Mich.

IMPROVISED GRINDING WHEEL A gr ind ing wheel for sntoothing the bot toms of finished

pottery can be improvised by using some sandpaper , slip and the pot ter ' s wheel. Simply cut out a round piece of sandpaper , smear the back side of it with a thick slip and press this down on the center of the wheel head to fasten it. It is surpris ing what a good job this does when the wheel is rotated rapidly. T h e s andpape r holds x~ery well and it is easily removed, too.

Mrs. Emma Dunn, Evansville, Ind.

PORTABLE DAMP BOX If you lack a d a m p box or slow-dry facilities in your studio.

confiscate the family picnic cooler for drying your pieces slowly and safely. These plastic chests are l ightweight and easy to move a round , inexpensive ($1.50 and up, according to size) and they hold a n u m b e r of pots at one time.

- -Michael ine Manet, Bradenton, Fla.

ROLLERS FOR LARGE SLABS Roll ing pins are usual ly r e commended for rolling out slabs

of clay and they do work well for small slabs. For mak ing larger slabs, I have discovered two make-shi f t rollers. If you can find a discarded old-fashioned wash ing machine , the wringer rolls can be taken off and used for rolling slabs. If you can obta in a p la ten f rom a legal-size typewriter, you will find tha t this also makes an ideal roller. Used platens f requent ly can be obtained free f rom a typewri ter repair shop.

- -Mrs . F. Bell, Springfield, Mass.

I DOLLARS FOR YOUR IDEAS Ceramics Monthly pays up to $5 /or each item used in this

I column. Send your suggestion+ to CM, 4175 North High St., Columbus, Ohio 43214. Sorry, but we can't acknowledge or re- turn unused items.

3 4 C e r a m i c s M o n t h l y

ITINERARY Continued

the Ceramic Association of Greater Kan- sas City, Missouri, will be held at the National Guard Armory. Show Chairman is Audrey B. McBride, 1308 Vista Drive. Independence.

NEW JERSEY, ASBURy PARK May 14-17 The 12th Annual Eastern

Ceramic Show. sponsored by Ceramic Leagues, Inc., will be held at Convention Hall and feature classes, demonstrations and an amateur exhibit. For entry forms, write: .James A. Boice. 2.5 Ablngton Ave.. Marlton, N.J.

NEW YORK, BUFVALO June 6-7 The 12th Annum Amateur

Competitive Ceramic and Sculpture Show, sponsored by the Western Chapter of the New York State Ceramic Association, will be held at the Buffalo Museum of Science, Humboldt Parkway. For informatiom write: Mrs. Vicky Price. Show Chairman, 67 Mt. Vernon Rd.. Snyder, Buffalo.

NEW YORK, NEW YORK through October The Hall of Educa-

tion at the New York World's Fair features a Hobby Crafts Section, including a ceramics classroom. For information, write: K. L. Chisholm. Box 224. Scotch Plains, N .J .

OHIO, COLUMBUS September 11-13 The Third Annual

Columbus Ceramic Show, sponsored by Ceramics Anonymous, will be held at the Youth Building at the Ohio State Expo- sition Center. Open competition for children, amateurs and professionals; Booth displays; Demonstrations and classes. For information, write: Mrs. Robert Cowie, 193 Orchard l,ane, Cohnnbus.

OH to, TOI.EDO September 19-20 Third Annual Ex-

hiblt of the Toledo and Area Ceramists will be imld at the Sports Arena Exhibit Hall. President of the group is Ila Periat, 2646 ll7th St., Toledo 11.

()KLAHOMA, TULSA May 16-17 Third Annual Ceramic

Show, "Oil Capital Showcase," will be held at the Tulsa Civic Center Assembly Building. Show Chairman is Mrs. Dot Pestel, 2316 W. 40th, Tulsa.

WEST VIRGINIA, PARKERSBURO September 18-20 Ceramic Show spon-

sored by the Ceramic Art Association of Parkersburg will be held at the Chancellor Hotel Ballroom. For information, contact: Mrs. Martha Booth, 1517~/'0 St. Marys Ave., Parkersburg.

WHERE TO GO

(:ALIFORNIA, NORWALK through May 10 "College Ceramics,"

an exhibition of ceramic work by students of colleges, junior colleges and art schools, is sponsored by the Design Division of the American Ceramic Society and hosted by Cerritos College; at Cerritos Colleee Gal- lery.

(iON NECTICUT, BRIDGEPORT May 23-June 15 Master Craftsman

show will feature the work of four members of the Society of Connecticut Crafts-

[rom Page 9

men; at the Museum of Science and In- dustry.

FLORIDA, CORAL GABLES May 5-31 1964 Member's Show of the

Ceramic League of Miami. at the .Joe and Emily Lowe Art Gallery.

[LLI NOIS, CHICAGO through May 10 Ceramics by Juanita

May, Visiting Artist at the School of the Art hlstitute; at the Art Iqstitute.

INDIANA, INDIANAPOLIS May 16-17 Talbot Street Art Fair, an

outdoor exhibit and sale sponsored by In- diana Artist Craftsmen.

KANSAS, WICHITA through May 5 The 18th Decorative

Arts--Ceramic Exhibition, sponsored by the Wichita Art Association.

KANSAS, WICHITA through May 10 "Swedish Folk Art,"

Smithsonian Institution Traveling Exhibi- tion, at the Wichita Art MuseunL

MARYI,AND, BALTIMORE May 17-June 5 First Maryland Craft

Exhibition, sponsored by the Maryland Crafts Council, at the Jewish Community Center. 5700 Park Heights Ave.

MASSACHUSETTS, BROCKTON through May 3 The Seventh National

Show of the Brockton Art Association includes work in pottery, sculpture and jewelry. At the Brockton Art Association.

NEW YORK, BROOKLYN through May 22 Exhibition of work in

ceramics, sculpture and painting by full- time students: at the Brooklyn Museum.

NEW YORK, NEW YORK through May 3 Three exhibitions:

"Designed for Production," "Jewelry by .John Paul Miller." and "Raku Pottery by Paul Soldner." At the Museum of Con- temporary Crafts.

NEW YORK, NEW YORK through May 7 Group Show of Pot-

tery, at the Greenwich House Pottery.

NEW YORK, NEW YORK May 5-25 The 31st Annual Exhibition

of Small Bas-Reliefs and Sculpture, sponsored by the National Sculpture Society. At the Loeb Student Center, New York University.

NEW YorK, NEW York May 6-27 Annual Juried Exhibition of

the Artist-Craftsmen of New York, at En- vironment Showroom, 205 East 60th St.

NEW YorK, NEW York May 13-24 The 32nd Annual Exhibi-

tion of Craft Students League features work done by students and teachers during the current year. In the fourth floor gallery of the YWCA, 840 Eighth Ave.

NEW YORK, NEW YORK J through September 27 "Josiah Wedg-

wood's Creamware for Cottage and Cas- tle." at the Metropolitan Museum of Art.

NEW YorK. SYRACUSE Mar 3-98 Exhibition of work by mere-


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Please Mention CM when writing our advertisers

VITREOUS STONEWARE CASTING SLIP • . . for cone 5 firing. Matching cone S

g l a z e s a v a i l a b l e . Write for prices

GARE CERAMIC SUPPLY CO. P . O . Box 830, H a v e r h i l l , Mass.

'br ol I io!

ill l ie

. - . . . . . . . . o r

, ~TC~Hi'~k' i ' l h , r r ,; l~l 'r],~rHCTiOn.

.~Iav 1%'4 35

just released our NEW

CATALOG #7 Thi s new 64-page ca ta log l i s t s e v e r y t h i n g you need - - a com- p le te l ine of ki lns, g lazes , tools plus genera l suppl ies a n d equipment , w i th m a n y new i tems added. Hobbyis t s , t each- ers and s tudio po t t e r s will f ind the ca ta log invaluable .

You' l l w a n t a copy of th i s all new ca ta log a t h a n d the ve ry nex t t ime you need ceramic , mosaic or me ta l ename l ing supplies fo r your home s tudio or school. Send fo r your copy now !

Send 50c fo r New C a t a l o g ~ 7 Irefundable on first order)

TEACHERS NOTE: This new catalocj is sent FREE to schools, institutions and craft shops.

Van Howe C e r a m i c S u p p l y

I15S S. CHEROKEE, DENVER 23, COLO.

A T T E N T I O N . • • M I D W E S T E R N SCHOOLS & H O B B Y I S T S

Why waif for your supplies? Order from us today and receive it tomorrow. Complete ceramic supplies ~ molds, slip, glozes, clay. Mail orders promptly filled. CENTRAL CERAMIC ART SUPPLY CO. Batavia Road, East of Rt. 59 Warrenvil|e, Illinols iChicacjo suburb) Retail ~ Wholesale 393-0171

MARBLES RHINESTONES JEWELRY SUPPLIES COPPER ENAMELING CERAMICS GLASS

Send today for FREE Catalog and

L B . c 1 2 B E R G E N ~A;;Sh°~ CRAFTS~

36 Ceramics Monthly

W O R K S H O P S ]

Continued [rora Page 12

QUEBEC, NORTH HATLEY June 29-August 29

The Workshop offers three 3-week sessions in ceramics and design: two sessions for amateurs and one for professional potters working under a foreign instructor. Instructors: Gaetan Beaudin and another to be announced. Write: The Workshop, Box 181, North Hatley, Quebec, Canada.

TENNESSEE, GATLINBURG June 20-July 24

Craft Workshop in the Smokies offers full and half sessions in beginning and advanced ceramics and enameling and a short session (July 20-24) in advanced enameling. Instructors: Jacqueline B. Ward (ceramics) and Helen Worrall (enamel). For folder, write Craft Work- shop, Pi Beta Phi Settlement School, Gatlinburg. For credit information, write Marian G. Heard, Director, Craft tlouse, University of Tennessee. Knox- ville. Tenn.

UTAH, SALT LAKE CITY ]une 22-July 17

University of Utah Summer Session offers 4-week courses in ceramics, enameling, metal design and weaving for graduate students and teachers in sec- ondary schools. Instructors: Frances Senska and Barbara Fickinger. Write: Department of Art, University of Utah, Salt Lake City 12.

VERMONT, CHARLOTTE June 25-August 26

Wings Point Ceramic Workshop, on Lake Champlain, offers ceramics in an 8-week course (or any part thereof). Throwing, handbuilding, design, decoration and glazing. Write: S. Cameron., 1168 Lowell Road, Schenectady, N. Y.

VERMONT, LUDLOW luly 6-Au~eust 28

Fletcher Farm Crafts School offers fore 2-week courses in pottery, enamelin8 and arts and crafts for teachers. Instruc- tors include Lorna Manzler and Ralph Parente. Write: Mrs. H. C. Turnquist. Chairman, Fletcher Farm Crafts School Committee, Chelsea, Vt.

I T I N E R A R Y

Continued [rom Page 35

bers of the Ceramic Guild, in honor of their 15th anniversary: at the Everson Museum of Art.

OHIO, AKRON May l-June 7 The 41st Annual Spring

Show at the Akron Art Institute includes all craft media.

OHIOj CLEVELAND May 6-June 14 The 46th Annual May

Show, at the Cleveland Museum of Art.

OHIO, TOLEDO May 10-30 Toledo Area Artists Annual

Exhibition shows juried work by residents and former residents of the Toledo area: at tile Museum of Art.


* IMPORTED RHINESTONES Flat Back or Pointed Back 25 Sizes - 2S Colors

* TRANSPARENT MARBLES 7 Sizes - 12 Colors

* JEWELRY SETTINGS Over 100 Latest Styles

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LARGEST INVENTORY • IMMEDIATE DELIVERY • RETAIL & WHOLESALE

SEE YOUR DEALER OR WRITE FOR NATIONAL ARTCRAFT SUPPLY CO.

LARGE 100 PAGE CATALOG S0c 12213 Euclid Ave. , C leve land, Ohio

GENERAL CATALOG - - full color charts, complete line of ceramics, mosaics, copper enameling and other crafts. MOLD CATALOG - - pictures from leading mold manufacturers, plus originals by us. SEND 50c FOR BOTH CATALOGS. Free to teachers. SEELEY'S CERAMIC SERVICE 9 River St., Oneonta, N .Y.

CERAMIC & ENAMELING SUPPLIES DISTRIBUTOR FOR:

Paragon - - D u n c a n - Drakenfeld Marx Brushes - - Symphony

Jacquelyn's Stains ART-CRAFTS SUPPLIES, I N C .

235 N.E. 67th St. Miami, F lor ida

STANGREN MOLDS 30% discount on $25.00 orders 40% discount on $75.00 orders

5% packing charge Stangron Mold Catalog ~ S0c Free to institutions and schools STANGREN P.O. Box 1.6, Grand Central P.O., N.Y.C. 17, N.Y. Tel: MU INS348

|

JEAN LEONARD CERAMICS 96-24 Corona Ave. Corona, L. I., N. Y. MAGIC GREENWARE RELEASE (8 oz.)..$1.25 Save yourself aggravation. Releases greenware in half the time, will not stick. KILN SURFACE BRICK HARDENER (16 oz.) . . . . . . . . . . . . . . . . . . . . . . . . . . S1.7S Will harden and prolong the life of your kiln. Stops the kiln brick from shedding and flakina.

_FRANCOISE CERAMICS-- DISTRIBUTOR FOR

Duncan Products Del ta Brushes A . B . C . Glazes - S ta r St i l ts

A t l a n t i c - Hol land - Arne i and Ludwig Schmid Molds

M a r c Bel la i re Brushes - Paracjon Kilns Art Books - Clay - Slip - Greenware 11:3 49th St., So. St. Petersburg 7, Florida

A New Idea In

HOBBY CERAMICS

HI-FIRE BISQUE-WARE

Bisqued Cone l0 Body Dinnerware

Ready For Finishing T=I,o~ ~ * = . A = . A I-I^LL.. ~'--I . . . .

C E R A M I C S . M O S A I C S

COPPER E N A M E L I N G lk" Huge Stocks "k Fast Service lk ~uol i ty

Merchandise ")4" Write now for FREE l iterature

ILLINI CERAMIC SERVICE 439 North Wells, Chicago 10. Illinois

ANDERSON CERAMICS COMPANY, INC. ]950 S. McDuffie St.

Anderson, South Carolina

Complete Ceramic Supplies Send $1.00 for our new pictured

maid and supply catalog.

r i l l So ld on ly

Authorized Dealers

W. P. DAWSON .oo ..... East Ash Fullerton, California

4 KILN"GARD P.O. Box 1 0 5 5 Jacksonville Beach, Fla.

SECOR C E R A M I C SUPPLY 4128 Secor Rd., Toledo, Oh)o

Nor thweste rn Ohio's Largest Wholesale Supply House

We c a t e r t o schoo ls Sorry ~ no catalog

K A T H E BERL Continued ]tom Page 32

wooden disk and drill holes through

it and into the wood for placement

of the screw-in hooks for hanging

teacups (the same as were used on

the pegboard) . These should be

spaced evenly for holding four, six

or eight cups. Now remove the strip for enameling.

If your strip is too long to fit into

the enameling kiln, it will be neces-

sary to cut it into sections of the

proper length. At this time, enamel

the two copper disks also. When the

enameling is done, the assembly can

begin. Place all three disks over the

tubing, with the wood disk sand-

wiched in between the enanteled ones.

Next, place the enameled ring in place

and attach it with the screw. Slip the

pivot screw into the tubing, add a

nut, and then slip this unit up through

a hole drilled through the cupboard

shelf. Add the other nut on the top

part of the shelf, and your revolving shelf-saver is finished.

If you have the same feelings that j

I do about gadgets, you may wish to

bolster this securing device with a

bit of glue. If it means protecting

some priceless pieces of china, it is

well worth the extra trouble!

L E T T E R S Continued [rom Page 7

one, that is, except one! There is a ladv by the name of Ruth M. Home, now or lately on the staff of the Royal Ontario Museum, who has written a book entitled "Ceramics for the Potter." Miss Home seems to have been research-minded and she of all the writers on the Potter's Wheel has taken the trouble to hunt down the origin of the term "throw." She says that the origin of the word as applied to the actual shaping of the clay may perhaps be traced to its old English meaning of "twist." Doesn't that make more sense? I'll add my two-cents-worth and say that, since "throwing" is so closely analogous to the "spinning" of metal into cups and bowls, the word "spin" would have been more appropriate, but perhaps the word "spin" wasn't old enough.

Hugh C. Knight Melrose, Mass.

The Famous

KLOPFENSTEIN POTTER'S WHEEL

Write for FREE Information

H. B. KLOPFENSTEIN & SONS RFD. # 2 Dept. A Crestline, Ohio

MORE DISTRIBUTORS WANTED FOR GENUINE

HAEGER CLAY SLIP

Packed in convenient two gallon units. Hae- ger Clay Slip - - identical to that used to make nationally advertised and respected Haeger Lamps and ar twara- - is a quick-turn product tar established volume distributors and wholesalers.

GUARANTEED CHARACTERISTICS

1. Excellent casting and firing properties.

2. Long firing range from Cone 0 8 . Cone 03 (17S3F-1980F) (Point of vitr if ication Cone 2)

3. Low bisque f ire provides eazy glaze application. (Perfectly suited te brush on, one.fire glazing}

4. Fast firing makes it suitable for electric kilns. (Can f ire in a total of 3 hours cold to cold)

S. Low shrinkage. S% or less. (4.8 maximum}

6. Fired module of rupture ~ 2800 Ibs . /per / sq. inch unglazed.

7. Thermal Expansion of 0.800% at 1000 C ~ 1 denotes a non-craz- kn~ characteristic,

ing a good bose for most glazes.

HAEGER . 7 Maiden Lane Dundee. Illinois 60118

Write. indicating your sales area and sales staff for volume prices and gross sales rebate plan.

Norwest Novelty Co. 32480 Northwestern Highway

Farmington, Michigan Hours: 9 to 5

OPEN SUNDAY - - Closed Monday Phone MAyfair 6-6003

1964 revision Catalog of 6000 molds

from 45 companies . . . . . . . . . . $1.25

New Mold Supplement only . . . . . SOc

Large Supply Catalog . . . . . . . . . $1.50 (Refundable on $15 Order}

"Dos & Don'ts of Ceramics"....$1.50

Midwest Ceramic Center 722 Southwest Blvd. Kansas City. Missouri

.Ilav 1964 37

H A Y S T A C K D E E R I S L E , M A I N E

Study Ceramics This Summer with

• A" James and Nan McKinnell ~r Hal Riegger

Harris Barron

• k Svea Kline

~" Karen Karnes

WRITE FOR BOOKLET

WORCESTER CRAFT CENTER 4 WEEKS SUMMER SESSION July 6 through July 31, 1964 Attend one week, two weeks, or more. Instruction in 6 major crafts. All day workshops, rooms available. Brochure: Dept. CM.

25 Sagamore Road, Worcester, Mass. 617-753-8183

PENLAND SCHOOL OF CRAFTS

FENLAND, N. CAROLINA

SUMMER SESSION JUNE I - SEPT. 26 An opportun ty for snr ous study of crefts. Courses for credit recognized by all accredited colleges through East Tennessee State College. WEAVING CERAMICS METALWORK JEWELRY ENAMELING GRAPHICS DESIGN WOOD WORKING FIBER DESIGN LECTURES DEMONSTRATIONS EXHIBITIONS Both 2 and 3 week sessions. Excellent food, well equipped studios. Recreational activities, h;k;ncj, golf, and swimming.

For catalog, write PENLAND SCHOOL OF CRAFTS

Box M, Penland, North Carolina

11th ANNUAL

YORK STATE CRAFT FAIR August 3rd thru 8th, 1964

Ithaca High School, Ithaca, N.Y. DEMONSTRATIONS " EXHIBITS n SALES

W A N T E D f r o m A r t i s t s a n d Craftsmen for the Stadia'Stare, 124 W. South Street, Kala- mazoo, Michigan ~ Pottery (wheel-thrown only), original prints, watercolors and oil paintings and sculptures. Write: H. J. Maloney, 132 W. South Street, Room 409, Kalamazoo, Michigan.

I PAY CASH~SEND SLIDES, write or call for oppolntmen~34S-06S3

C r a f t s m e n , Pot ters and Schools BUILD Y O U R O W N KILNS

FOR REDUCTION STONEWARE • . . as designed and used by the Oxshott Pottery. Plans sent all over the world. Firing to 1300 ° C., smokeless fuel, overnight hopper. Three sizes included: 14" x 14" x 14", 24" • 21" • 24" and 36" • 30" x $4". Five sheets of working drawings, charts and manual giving detailed instructions on materials, building and firing the three kilns, also kick-wheel. Send $8.60 to D. & R. Wren, The Oxshott Pottery (founded 1911), Oxshott, Surrey, Eng- land. Leaflet free.

38 Ceramics M o m M y

H A L R I E G G E R l Continued from Page 13

have been previously melted along with certain insoluble materials. Most frits are chemically compounded in such proportions that, though they were m a d e in p a r t f r o m soluble sub- s tances a n d / o r lead, they are no longer soluble or poisonous. A c c u r a t e i n f o r m a t i o n on specific frits may be o b t a i n e d on reques t f r o m m a n u f a c - turers of these umter ia ls .

F o r nay purposes I have d e f i n e d low-f i re glazes as fal l ing wi th in the r ange of cone 015 to cone 06. I do no t m e a n to imply t h a t this is a s t and- a rd de f in i t ion or t h a t all po t t e r s will ag ree wi th me. Since I have set the u p p e r l imit a t cone 06, my ca tegory will inc lude m a n y glazes a l ready in use by the hobby p o t t e r a n d I feel the fo l lowing should be n l en t i oned . A glaze t h a t has b e e n f ired to cone 06, or as low as cone 08, w h e r e the bodv has n o t been m a t u r e d , will have a d i f f e r en t a p p e a r a n c e a n d surface texture w h e n used over a dense clay, or glaze surface , in t he la t t e r case f i r ing ou t m o r e glossy.

I T I N E R A R Y

Continued [rom Page 36

OKLAHOMA, TULSA May Show and sale by members of

the Tulsa Designer-Craftsmen, at Robert Buchner's Selections, 1701 S. Main St.

RHODE ISLAND, PAWTUCKET May 29-June 21 The Third Annual

Rhode Island Craftsmen Exhibition, sponsored by the Contemporary Crafts Center of Providence, at Old Slater Mill Museum.

TENNESSEE, MEMPHIS May 24-]une 20 "The 22nd Ceramic

National Exhibition," circulated by the Everson Museum of Art, at Brooks Me- morial Art Gallery.

VIRGINIA, NORFOLK through May 17 "Craftsmen of the

Eastern States," Smithsonian Institution Traveling Exhibition, at the Norfolk Mu- seum of Arts and Sciences.

WASHINGTON, SEATTLE through May 24 The 12th Annual

Northwest Craftsmen's Exhibition, at Hen- ry Gallery, University of Washin~rton.

Europe's Finest

THE LEACH WHEEL Now American made ~ $169.00 f.o.b. St. Paul, Minn. WRITE FOR FREE BROCHURE

D. M. VARS, 825 W. Minnehaha, St. Paul 4, Minn.

Advertisers Index May 1964

American Art Clay Company . . . . . . . . 7 Anderson Ceramics Co . . . . . . . . . . . . . . 37 Art-Graft Supplies, Inc . . . . . . . . . . . . . . 36 B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . . 4 Bergen Arts & Crafts . . . . . . . . . . . . . . 36 Bisq-Wax . . . . . . . . . . . . . . . . . . . . . . . . . 6 Central Ceramic Art Supply . . . . . . . . 36 Ceramic Expositions, Inc . . . . . . . . . . . 6 Ceramichrome . . . . . . . . . . . . . . . . . . . . . 10 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 35 Dawson, W. P . . . . . . . . . . . . . . . . . . . . . 37 Duncan's Ceramic Products . . . . . . . . . 8 Francoise Ceramics . . . . . . . . . . . . . . . . 36 Gare Ceramic Supply Co . . . . . . . . . . . 35 Glass-art . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Grieger's, hw . . . . . . . . . . . . . . . . . . . . . . 37 Haeger . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Haystack . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Illini Ceramic Service . . . . . . . . . . . . . . 37 Industrial Minerals & Chemical Co . . . . 5 Kemper Mfg. Co . . . . . . . . . . . . . . . . . . . 35 Kiln-Gard . . . . . . . . . . . . . . . . . . . . . . . . 37 Kinney, Kay . . . . . . . . . . . . . . . . . . . . . . 4 Klopfenstein, H. B. & Sons . . . . . . . . . 37 L & L Mfg. Co . . . . . . . . . . . . . . . . . . . II Leonard, Jean, Ceramics . . . . . . . . . . . 36 Mayco Colors . . . . . . . . . . . . . . . . . . . . . 4 Midwest Ceramic Center . . . . . . . . . . . . 37 National Artcraft Supply Co . . . . . . . . . 36 National Ceramic Manufacturers Assn . . 3 Norwest Novelty Co . . . . . . . . . . . . . . . . 37 Ohio Ceramic Supply . . . . . . . . . . . . . . 37 Orton Ceramic Foundation . . . . . . . . . 10 Oxshott Pottery . . . . . . . . . . . . . . . . . . . . 38 Penland School of Crafts . . . . . . . . . . . . 38 Pottery by Dot . . . . . . . . . . . . . . . . . . . . 33 Reward . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 SPoor Ceramic Supply . . . . . . . . . . . . . . 37 Seeley's Ceramic Service . . . . . . . . . . . . 36 Stangren . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Studio's Store . . . . . . . . . . . . . . . . . . . . . . 38 Tepping Studio Supply Co . . . . . . . . . . . 37 Thompson, Thomas C., Co . . . . . . . . . . . 10 Trinity Ceramic Supply . . . . . . . . . . . . 36 Tru-Fyre Laboratories . . . . . . . . . Cover 2 Van Howe Ceramic Supply . . . . . . . . . . 36 Vars, D. M . . . . . . . . . . . . . . . . . . . . . . . 38 Walker Jamar Co . . . . . . . . . . . . . . . . . . . 35 Westwood Ceramic Supply . . . . . . . . . . 9 Worcester Craft Center . . . . . . . . . . . . 38 York State Craft Fair . . . . . . . . 38

Back Issues The [ollowing back issues o[ Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 3% sale¢ tax). We pay postage. 1953 June. August. December 1954 March. July, August, December 1955 August, November, December 1956 May, October. December 1957 April, May, June, July, September, De- cember 1958 April, May. June, September. November 1959 November, December 1960 June, December 1961 January, April, October. November, De- cember 1962 January (9-year Index issue), February, March, April, May, June, November 1963 January, February. March, April. May. June. September. November 1964 February. March, April Please send remittance (check or money order) with list o[ issues desired.

CERAMICS MONTHLY 4175 N. High St. Columbus, Ohio 43214

|

Headed for the

"Best Seller"' list! 1

The NEW John Kenny,

book... • . ,(:-:

!!i!:i:>

-h~ ~n.y who is p r i nc ipa l of the High School of A r t and Des ign in New York City, is no s t r a n g e r to the r eade r s of Ceramics Monthly . His a r t i c les have a p p e a r e d m a n y t imes in the magaz ine . Eve ryone who enjoyed Mr. Kenny ' s a r t i c les in Ceramics Monthly and his f i r s t two books. "Comple te Book of P o t t e r y M a k i n g " and "Ceramic Sculp ture , " will want th i s new t i t le for h is l ib ra ry .

• = :~ : is a p ro fuse ly illus- : r a t e d book in which the a u t h o r dem- o n s t r a t e s m a n y basic c lay work ing ~echniques and covers a wide r a n g e of p ro jec t s fo r bo th b e g i n n e r s and advanced s tuden t s . The pub l i she r s of th is exc i t ing new book have called it the "how to do" and " w h a t to do" book in one. Complete i n s t ruc t i ons for methods of f o r m i n g and decora t ing ceramic w a r e a r e given, w i th s tep-by- s tep p h o t o g r a p h s to guide the designer a long the way.

CorefuHy ~'~ri~'ten c h a p t e r s on form, sketching, coiling, rol l ing, s lab building, pour ing , t h r o w i n g and combining a re supp lemented by o the r s on ca rved design, shap ing , coloring, glazing, f i r ing and d rawing . More t h a n 50 photo sequences, some wi th over 24 s tep-by-s tep pho tog raphs , and more t h a n 100 p ic tu res of o u t s t a n d i n g examples of ce ramic des ign ( m a n y in full color) , d i ag rams , d r awings and s k e t c h e s i l l u s t r a t e th is beau t i fu l book. They a re supp lemen ted by an appendix , a l ist of ce ramic ma te r i a l s , tables and recipes and a g lossary .

will find wide use a m o n g hobbyis ts , schools and c r a f t cen te r s and makes an ideal g i f t for any occasion. I t is a beau t i fu l ly bound edi t ion wi th a l a rge 71~ " x 101/_ °" f o r m a t and ha s more t h a n 600 photos w i th 16 pages in fu l l color! Order your copy now--S9.95. We pay pos tage and sh ipp ing charges .

Mcn<y-~ock a , : : ~ r , ~ ( . - - All books ordered t h r o u g h the Ceramics Month- ly Book D e p a r t m e n t a re r e t u r n a b l e for immedia te , full r e fund .

WE PAY POSTAGE

CERAMICS MONTHLY BOOK DEPT.,

4175 N. High. St.. Columbus, Ohio

PJease send me: - - copies of CERAMIC DESIGN @ $9.9S per copy.

NAME

ADDRESS

CITY. STATE

Ohio Residents: add 3 % Sales Tax. I enclose [-'] Check

- -Money Order [ ] Other

22 SELECT TITLES FROM THE CH BOOK DEPARTMENT DESIGN FOR ARTISTS AND CRAFTSMEN by Louis Wolchonok One of the best books on design, it will prove to be invaluable to pottery and sculpture enthusiasts as well as decorators. Geometric, flower, bird and animal forms are shown in detail. $4.95

THE ART OF MAKING MOSAICS by Jenkins and Mills This fascinating book shows the beginner how to make unusual and beautiful mosaic pieces in home or workshop. Well illustrated. $5.95

CERAMICS by Glenn C. Nelson An important addition to the list of books for both student and teacher. Many step-by- step photographs of clay-forming and decorating techniques. Review of equipment. $5.95

DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Enciso A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, human figures, etc. 170 pages. $1.85

CERAMICS AND HOW TO DECORATE THEM by Joan B. Priolo Mrs. Prio]o gives detailed de- scriptions and illustrations of dozens of decorating techniques and shows exactly how to go about using them. Starts where other books leave off. $5.95

FREE BRUSH DESIGNING by Egbert and Barnet The authors' exciting approach to painting and designing develops confidence in the new artist. Extremely well adapted to ceramic decoration. $3.95

CRAFTS DESIGN by Moseley, Johnson & Koenig A wonderful introduction to crafts design, this handsome book shows the art and technique of creating through crafts. Over 1000 illustrations of pottery, mosaics, enameling, etc. 436 pages. $13.00

STONEWARE AND PORCELAIN by Daniel Rhodes Describes techniques and materials used in high-fire pottery. Includes sections on clay bodies, glazes, colors, textures and decoration. $7.50

r iiiiii mini m m mm iml m m im l mira m ~ I m i

3

I PLEASE SEND ME THE ~ - 1 Kinney--Glass Craft $7.50

i [-1 Bohrod--Sketchbook $7.50 [ ] Hornuncj--Designs $1.90

I [ ] Hendrickson--Mosaic $3.50 [ ] Kenny--Sculpfure $9.95 [ ] Kenny--Potfery $7.50

I [ ] Norton--Artlst Potter $7.50

I [ ] Parmelee--Glazes $8.00 [ ] PriMo--Designs $S.95 !"7 Rhodes--Clay & Glazes $7.50

i [-] Sander~Ceramics Book $1.95

NAME

I FOLLOWING BOOKS

[ ] Untrachf--Enameling $7.50 I [ ] White--World of Pattern $3.75 I [ ] Johnson--Designs $3.00 [ ] Wolchonok--Design $4.95 I [ ] Jenkins & Mills--Mosaics $5.95 [ ] Nelson--Ceramics $5.95 I [ ] Enciso--Design $1.B5 [ ] Priolo--Ceramics $5.95 I [ ] Egbert & Barne~Brush $3.95 I [ ] Moseley--Crafts Desiqn $13.00 [ ] Rhodes--Stoneware $7.50 I

I I ADDRESS I CITY ~N STATE I

I enclose [ ] Check [ ] Money Order (Ohio residents: 3% Sales Taxi I

GLASS CRAFT by Kay Kinney The complete book on fusing, laminating and bending glass. Basic techniques, step-by-step projects and a "Glass Clinic" to help solve problems. Hard covers. 200 pages. $7.50

A POTTERY SKETCHBOOK by Aaron Sohrod Bohrod, one of America's dis- tinguished painters, is well known in the pottery field for his decoration of pottery thrown by Carlton Ball. Thousands of sketches. $7.50

HANDBOOK OF DESIGNS AND DEVICES by Clarence Hernung Over 1800 sketches of basic designs and variations including the circle, line, scroll, fret, shield, snow crystals and many more useful symbols. $1.90

ORDER ANY OF THESE " I SELECT TITLES ON OUR

~ ONEY-BACK GUARANTEE :i

MOSAICS, HOBBY & ART by Edwin Hendrickson This profusely - illustrated handbook for the beginner and advanced hobbyist includes step-by-step instruction on 12 basic projects. $3.50

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 craftsmen. Large format (7"x10") , 302 pages. $9.95

THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny The "best seller" in the ceramic field I Step-by-step photo lessons cover all of the pottery - making techniques. Clays, glazes, firing, plaster, etc. 242 pages. $7.50 CERAMICS FOR THE ARTIST POTTER by F. H. Norton The most complete book on the subject, from choosing the proper clay to putt ing the final touches on a piece, all clearly explained. Ce- ramics at its best! $7.50

CERAMIC GLAZES by Cullen W. Permelee T h i s invaluable reference book completely covers glaze making. Includes formulas and batch recipes for glazes. 314 pages of technical information. $8.00

DESIGNS AND HOW TO USE THEM by Joan B. Priolo Top-notch decorating can be achieved by following the simple motifs which may be enlarged or transferred. A complete list of subjects: birds, fish, etc. $5.95

CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes Two complete books in one! Fundamental details on both CLAY and GLAZES make this book a "must" for every hobby - craftsman, student, teacher and potter. $7.50

CERAMICS BOOK by Herbert Sanders This excellent introductory book describes methods and materials for hand forming, wheel-throwing and casting. Covers ceramic jewelry, decoration and firing. $1.95

ENAMELING ON METAL by Oppi Untracht Step-by-step photos are used to describe fundamentals on through to newly developed experimental styles. This complete guide is a major con- tribution to Enameling. $7.50

pay eOSTAO

A WORLD OF PATTERN by Gwen White This volume offers the beginner a wealth of ideas and information on design and color. A sound approach to the art of decoration. Color and line illustrations. $3.75

DECORATIVE DESIGNS FOR CRAFT AND HOBBY by Frances Johnson The author, a designer and potter, presents 350 designs, many in full size, with sug- gesuons for proper colors Many Pennsylvania Dutch designs mcluded. 72 p a g e s . paper-bound. $3.00

ceramics monthly - may 1964...is ideal for professional potters • delivers maximum power at all...

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