Ceramics Monthly - October 1958 - Ceramic Arts Network · • Latest Jewelry Catalog- INCREASING popularity of these jeweh-y fizld- ings makes this catalog important to you. It features

O C T O B I I t 19

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CERAMICHROME IN THE SCHOOL Classroom Projects are Always Successful and Productive

When Ceramichrome Prepared Liquid Ceramic Underglazes & Glazes are Used As a resul t o f ex tens ive ceramic a r t educat ion demonst ra t ions conducted th roughout the United S fa tes - - Ceramichrome colors are ENGINEERED to meet c lassroom needs.

with Ceramichrome • Students successfully complete the i r own p r o j e c f s u a l l o w i n g teacher add i t iona l t ime f o r teaching of

the a r t .

• Students have the easiest co lors to wo rk w i fhmTesu l f ing in bet ter and more effect ive finishes.

• Students are using School Approved c o l o r s m t h a t have been accepted by al l school levels.

• Students w o r k w i th CONFIDENCE--Being assured o f co lors t ha t do not rub of f and wi l l f i re TRUE~ f rom pot tery to s toneware .

CERAMICHROME PREPARED READY-TO-USE LIOUID UNDERGLAZES and GLAZES ARE MANUFACTURED WITH THE SCHOOL IN MINDmTO MAKE IT POSSIBLE FOR ECONOMY PURCHASING TO MEET THE SCHOOL BUDGET.

To do this m A l l Ceramichrome colors a re made to ONE.FIREmwhich au toma t i ca l l y cuts each p ro iec f t ime in half! ~ A l l Ceramichrame co lors a re made to INTER-MIX--which gives the class innumerable co lo r combina. t ions, and wi th only minimum stack!

TEACHERSuWri te d i rect on school letterhead f o r FREE l i terature on Ceramichrome

introductory colors.

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OVER 4000 ITEMS

M-58 MOLD CATALOG

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80 PAGES

2105 SELECTED MOLDS

1958 DECAL CATALOG--25c

44 PAGES

Fully Illustrated

Over 500 Decals

Metal Enameling Catalog

Only 10c

16 BIG PAGES

KITS, KILNS, SHAP r'" " " " ' "

WE ESPECIALLY

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Zirco " N E O M A T T " Colors SELF-GLAZING--ONE FIRING

16 Exciting Matt Colors - - 2 oz. 50c

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GLAZES

TRU-SATIN

22 Colors-- 4 oz. Jar 65c

Advertised here for the first time.

P.S. W e a l so h a v e 22 N E W o n e - p i e c e X M A S S f e n c i l s

L i terature on the above featured items

ava i lab le upon requesf. Grat is , of course.

h o u s e o f c e r a m i c s The Nafion's Largest Hobby Ceramics Supply H o u s e

2481 Matthews Ave. , v , , - , v , r n , o l ' A r k A n u ' c , TENN. One Location Only

OCTOBER, 1958 1

Enjoy the Latest Developments in Ceramic Kiln Engineering

giTilqO0 ELECTRIC KILNS N o w 21 UL a p p r o v e d kilns fo r p o t t e r y a n d me ta l e n a m e l -

ing . . . f r on t and top l o a d i n g A m a c o a n d F ine-Ar t mode ls

• . . w i d e r a n g e o f sizes a n d pr ices . . . h igh f i re mode ls

a t t a i n 2 3 5 0 ° F . . . a t t rac t i ve , we l l i nsu la ted e q u i p m e n t

. . . l ong l i fe e l e m e n t s . . , r e p l a c e m e n t par ts always ava i l -

ab l e f rom A m a c o - - a m a n u f a c t u r e r o f school mate r ia ls

since 1 9 1 9 and the first c o m p a n y to bu i ld e lec t r ic kilns

espec ia l l y fo r schools a n d studios

AMERICAN ART I N D I A N A P O L I S 2 4

2

FREE C A T A L O G

Lists pot tery and metal en- arneiing kilns with electr ical s p e c i f i c a t i o n s , p o t t e r s wheels, clays, glazes, ceramic supplies. Also, metal ename ls and e n a m e l i n g supplies.

Write Dept. C- 10

CLAY COMPANY I N D I A N A

SNAP-EM' MOSAIC TILE MOLDS

So easy to use ~ Fun to do The file molds produce This is a SNAP-EM' Mosaic Tile

deeply scored cast 6"x6"x3/16" thick. Scored 3 sizes slabs of tile, that after i / ~ / / / / / .- glazing and firing c a n ~ l l l l i l l l l l l ' /

• I I I I I I I / be easily broken ~ - - / ,- ,~ ,- ~ , . ~ - - ~ / , / -/ / / / / /7 / / / / / / / / / / / i / / / / / / / /

i i _ i ! / . / / ( !

T The glaze is applied to the smooth side of file. With glazed surface up, hold the tile between thumbs and forefingers. Press downward with thumbs. Tile breaks at

Mold ~$30/16 --!1/2" sqs. ~ 5 3 1 / 6 4 - - 3~- sqs. ~q~:$32/144~ % " sqs.

533 Plain Surface

MOLD PRICE $3.60 each

(Approx. wf. of each mold 10# )

Instructions for completing mosaics

included

CEMENT (Waterproof) 13~ oz. tube 35o. Cement 11/2 sq. ft. GROUT: 35c per lb. Will grout 11/2 sq. ft. Colors: Stoneware

Grey, Yellow, Coral, White. BLACK GROUT: 60c per lb. TILE NIPPERS: High Grade Swedish Steel--each $3.00.

CREEK-TURN, Hainesporf , N. J.

C e r a / ' t l l ~ Special Catalog Offer GET YOUR COPIES NOW:

DECAL AND JEWELRY CATALOGS, AND MOLD BROCHURE

• Wate rmount Decal C a t a l o g - C O N T A I N S i m p o r t a n t i n fo rma t ion on the newest qua l i t y profess ional decals. These can save t ime and g ive new beauty to pieces never before possible. Included wi th ca ta log are new easy step-by-step p ic tured ins t ruc t ions .

• New Mold Brochure-- O F F E R E D are some of the latest and most popu l a r molds, now here fo r you a t popa la r prices.

• Latest Jewelry C a t a l o g - I N C R E A S I N G popula r i ty of these jeweh-y fizld- ings makes th i s ca ta log i m p o r t a n t to you. I t f ea tu res the qua l i ty gold-plated line of f ind ings ava i l ab le at reasonable cost.

C A T A L O G S FREE with purchase of DECAL ASSORTMENT # 6 7 1 - C

N E W S U R P R I S E D E C A L A S S O R T M E N T . Al l new selection of w a t e r m o u n t decals a t t r ac t i ve ly created to sui t a var ie ty of pieces. Get th i s Surpr i se Decal a s so r tmen t with catalogs of decals, molds, j ewe l ry ONLY $1. For Catalogs Only- -Send 25c to cover h a n d l i n g and mai l ing .

ORDER TODAY[

CERAMICS MONTHLY

~ M 0 N T H L Y

Volume 6, Number 8

i n t h i s i s s u e

Octobe r • 1958

SO cents per copy

Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Answers to (~uestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Pic of the Month . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Enameler's Column by Kathe Berl . . . . . . . . . . . . . . . . . . . . . 9

Teacher's Pet: Balloon Molds for Slip Cast ing by Reinhold P. Mor×hausen . . . . . . . . . . . . . . . . . . . . . . 11

Show Time: Northwest Craf tsmen . . . . . . . . . . . . . . . . . . . 12

Underglaze: 3 Wise M e n - - A Chr is tmas Motif demonstrated by Marc Bellaire . . . . . . . . . . . . . . . . . . . . 14

Fun w i th Apple Molds by Befse Lewis . . . . . . . . . . . . . . . . . 16

Figures From Fi rebr ick by Edr;s Eckhardt . . . . . . . . . . . . . . 17

Carv ing Wheel-Thrown Po t te ry by Tom Sellers . . . . . . . . . 20

Strictly Stoneware: Learning about Glazes (Part 2) by F. Carlton Ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Enameling: Champleve by Kenneth F. Bates . . . . . . . . . . . 23

Copper Wire f o r Surface Decora t ion by Allan A. Eastman.26

Suggestions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Overg laze Notebook by Zena Hoist . . . . . . . . . . . . . . . . . . . 30

Ceram-Ac t i v i t i es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

I t i ne ra ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Index to Adver t i sers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

On Our Cover : Winning stoneware tram the 6th Annual Michi- ana Ceramics Exhibition, sponsored by the South Bend (In- diana) Art Association. Charlene Fisher, Ypsilanfi, Mich., won a merit award for her 71/2" gray and tan stoneware bottle with a brown line decoration. Another award went to Johnnie Gould, Celina, Ohio, for a 131/2" stoneware vase with a tan un- glazed background and a gray glazed angular decoration.

Edi to r Louis G. F a r b e r Bus iness M a n a g e r Spence r L. D a v i s

M a n a g i n g E d i t o r Sh i r l ey A b r a h a m s o n A r t D i r e c t o r Rober t L. C r e a g e r

Ed i to r ia l Assoc ia t e T h o m a s Sel lers C i rcu la t ion T h a n a Clay

Adv i se r s and Specia l C o n t r i b u t o r s : Ca r l t on A t h e r t o n ; F. Ca r l ton Ball : M a r c Bel la i re ; Ka the Berl ; Ed r i s E c k h a r d t : J o h n K e n n y ; Z e n a Ho i s t : Do r o thy P e r k i n s : Ken S m i t h : Don Wood.

Ceramics Month ly is publ ished each m o n t h excep t J u l y & A u g u s t a t L a w h e a d P r e s s , A thens . Ohio, by P r o f e s s i o n a l Pub l i c a t i ons , Inc . , S. L. D a v i s , P r e s . & T r e a s . : L. G. F a t h e r , V. P r e s . ; P . S. E m e r y , Secy.

S U B S C R I P T I O N P R I C E in U . S . A . and P o s s e s s i o n s : one yea r , $5; two years , $9; t h r ee yea rs , $12. C a n a d a a n d P a n A m . add 50 cen t s a yea r ; f o r e i g n , add $1 a yea r . C u r r e n t i ssues , 50e; b a c k issues , 60c.

A L L C O R R E S P O N D E N C E ( a d v e r t i s i n g , subsc r ip t ions , ed i tor ia l ) should be sen t to t he edi tor ia l offices a t 4175 N . H i g h St . , Co lumbus 14, Ohio. E n t e r e d a s second-class m a t t e r a t t he pos t off ice a t A the ns , Ohio, as ffr&nted u n d e r A u t h o r i t y of t he Ac t of M a r c h 3, 1879.

Cepyricht 1958 by P r o f e s s i o n a l P u b l i e a t / e n s , I n c . A l l r i g h t s r e se rved .

OCTOBER, 1958

1st STEP TO BETTER ENAMELING

T H O M P S O N q .P'ENAMELS & MATERIALS

for Teachers, Professionals, Hobbyists and Students

TCT Enamels assure best results . . . because they give you g rea te r : Uniformity of enamel • Brilliance of color • Dependabil i ty in use • Choice of many colors • Beauty of finish

Everyone appreciates the better results, the improved workmanship, the beautiful pieces you get with TCT Enamels. For 6S years, we have emphasized QUALITY, VALUE and SERVICE to enamelers . . . now offer over 1S0 shades of enamel colors in lump and powder plus, opalescent, crackle, glaze paint, separation enamel, threads, liquid gold.

E W for Glass Decorators I We offer a full llne of Ice Colors for firing on glass. Write |

|

We Also Supply: m,~,.L - ' ~ ~ / ~

Kilns Trivets Send 25c Findings Enamel Threads j

Metal Shapes Copper Wire CATALOGLf°r new / Chains Silver Foil Frames

COMMENT ON THE MIAMI S H O W Dea r Edi tor :

My feel ing about the recent M i ami Nat ional Ce ramic Show would cor respond in a genera l way to m y react ions to o ther na t iona l shows of recen t years. A d m i r a t i o n and respect for the ini t iat ive and effort of sponsor ing groups and con t r ibu tors is mixed wi th the concern t ha t all this energy should be used to best advan tage . Are the shows too big and unwie ldy? Are there categories tha t m i g h t bet ter be e l imina ted or h a n d l e d separa te ly?

In pot tery, I find a wide var ie ty of style, des ign and size; showing invent ion , originali ty, sophis t icat ion. Approaches to fo rming inc lude slab bui lding, t h r o w n forms both s imple and complex as when a r r anged in mul t ip le comb i na t i on or s t ruc tured in scu lp tura l terms. T h e r e is expe r imen t in abs t rac t relief and tile decorat ion and emphas i s on organic h a n d l i n g of decora t ion of form.

Weak areas were in enamels and ceramic sculpture . Enamels too of ten show a lack of or iginal i ty and innova t ion and tend to let in teres t in technica l effects of the m e d i u m obscure the c r a f t sman ' s s t a t emen t . Ce ramic scu lp tu re was genera l ly uncon- v inc ing in e i ther form, o rgan iza t ion or expression, wi th too m a n y cont r ived des ign effects. Whi le the a rch i tec tura l decora t ion

g roup lacked e n o u g h entr ies to jus t i fy the ca tegory in this year ' s show, pe rhaps in a rch i t ec tu ra l use is to be found the broad- er purpose and m e a n i n g tha t is present ly needed by scu lp tura l design.

I n j u ry ing the show, d i sag reement , ex- t ended discussion, and compromise affect- ed m a n y of the final j u d g m e n t s of award and acceptance . Na tu r a l l y e n o u g h ques- t ions conce rn ing na t iona l shows, categories of award , prizes and jur ies c ame u n d e r discussion. Th i s m a y well be a good t ime for a s tudy of the p rob lem of na t iona l ce ramic exhibi t ions by bo th sponsor and exhibitors. Such a s tudy, if it could be made , would be he lpfu l in c lar i fying pur- poses and policies, in i m p r o v i n g the over- all qua l i ty of shows and in sav ing t ime, enerb'y and expenses for bo th groups.

PAUL BOOATAY Columbus, Ohio

• We asked Mr. Bogatay to give us his opinions on the Miami Show in view o[ the interest our readers have displayed in this show in past years. He was one o[ three jurors• ---Ed.

SELLERS, BALL FAN D e a r Edi tor : • . . I have enjoyed the m a n y fine art icles wh ich have been pub l i shed in your mag - azine, bu t am especial ly apprec ia t ive of the series by Car l ton Ball and T o m Sell- ers. I s incerely hope t ha t the editors can a r r ange for c o n t i n u i n g articles by them.

T o m Sellers series on the wheel strikes me as be ing pa r t i cu la r ly pract ical and helpful . I would still like to have some- t h i ng f rom h i m on the m a k i n g and use of

"chucks" or wha teve r it takes to ge t a foot r im on a tall bottle.

Car l ton Ball 's articles on s toneware are especially helpful and have opened several avenues to me. I can ha rd ly say " t h a n k you" too enthusiast ical ly. I open each issue hop ing tha t he is there . . .

MRS. E. G. NOBLE Nebraska City, Nebr.

OTom Sellers described how to make a chuck in the August 1955 issue o[ C.M. - -Ed .

BEYOND EXPECTATIONS Dear Edi tor : • . . For your in format ion , the plaster roll ing pin suggest ion in the M a y issue of C M sure worked out far be t ter than ex- pected. I am enjoying the use of Mrs. Larson ' s idea very much . Ho p e tha t others need ing this tool will take t ime to make one. I t certainly does work!

LVERA' S CERAMICS Mercedes , Texas

OMrs. Larson suggested that a plaster rolling pin be cast in a cardboard paper towel tube to prevent clay [rom sticking to the roller while a slab is rolled out . - - Ed.

This co lumn is for C M readers. I t 's open to everyone who has some th ing to s a y - - b e it quip, query, c o m m e n t or advice. All letters mus t be s igned; names will be wi thhe ld on request. Jus t address your let ter to: T h e Editor, Ce- ramics Month ly , 4175 Nor th H ig h St., Co lumbus 14, O h i o . - - E d .

TEA CHERS Your ceramic classes can be fun . . . [or your Students-for You!

MAYCO'S Famous Underglaze C( • . . long have been a favorite for student classes. They are available in a wide variety of interesting eolorsmalready prepared in liquid form and ready to use. You use your full time teaching•

M A Y C O UNDERGLAZE COLORS are economical and reliable• Ask for them by namemask for M A Y C O .

A M E R I C A ' S FINEST COLORS DEALERSHIPS A V A I L A B L E - - S e e your nearest M A Y C O Distr ibutor or wr i te us.

4 CERAMICS MONTHLY

UL APPROVED FOR YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not!

MODEL U15H

I lie] - = "[el: l , ] :! : ;_--i

20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNA- GLOW porcelain element ho lders . . . 4-way switches . . . 2 peep ho les . . , pilot l i g h t s . . , and they are designed with your safety in mind.

i ~ ii i ̧~¸!iii~i ~;~ ~|,~ 81 A complete line of

bench and f l o o r models available.

H I G H T E M P E R A T U R E

F U R N A C E S

T O 8 0 0 0 ° F

. . . using silicon carbide healing elements. MODEL e le -G

a i T E M P E R A T U R E H O L D I N G E N A M E L I N G K I L N I I ~

Can Also Do Ceramics !

s R ~ z 8 plus $2.00 crating charge V ~ Chamber size: 4" x 81/2" x 8t,/2 ' ' ~ ......

PHce includes Pyrometer, Input Control Switch, Gravity Door,

Pilot Light, and Patented Dyna-Glow Porce|ain Element Holders.

A t t rac t i ve . . . Plugs in anywhere!

MODEl. E49

All steel welded case . . . gravity door • • • Z 7 Patented Dyna-Glow element ho lders . . . Plugs in $4 5 0 anywhere . . , attains enameling temperatures

crating charge. quickly regardless of voltage condi t ions. . , n°chamber size: elements can not be burned out due to over-firing. 4" x 8" x 8"

• Pyrometer availabJe at $20.00 extra

W R I T E F O R L I T E R A T U R E

C H E S T E R 11, P E N N A .

D E A L E R I N Q U I R I E S I N V I T E D OCTOBER, 1958 5

ANGEL - - H-829

(to complete seJr H-758, 759, 750) 5V2" tall. $5.95

ROSIE - - H-827

7V2" tall (¾ size) $7.90

Brooch & Earring H-830 21/2 ' ' x2" & 11/4 " x 1". $2.40

FREE MOLD CATALOGUE

e s t l o n $ Conducted by the CM Technical Staff

Q / am using a prepared matt glaze which doesn't always work. Sometimes i t gives a beautiful matt f inish and other times a semi-gloss effect. Do you think the product is not consistent?

That is the usual f irst thought but invariably it is the user who is inconsistent! One of the most common rea- sons for this difficulty is too thin a coating. If you brush- on your glaze, apply three coats, letting them dry in between. Another reason can be overfiring, which is easily remedied by careful firing, using cones.--CM STAFF

Q What would cause a bisque fired underglaze decoration to disappeax in spots after, or during, the transparent glaze firing?

If an underglaze decoration has gone through a bisque f ir ing with success and runs into trouble during glaze firing, then there are strong possibilities that the underglaze and glaze aren' t gett ing along. What this means is that when the glaze goes into the melted state in the kiln, chemicals in it react with the underglaze and create various problems from complete disappearance to running, spot- ting, bleaching, etc.

Have you used this glaze before? Try painting various (Continued on Page 10)

7-7

I

Jj '~ CERAMICS MONTHLY

Use the

B R A N D

DIAMALLOYI

NIPPERS

For cutting glass and ceramic mosaic tile.

Strong hardened rivets for long wear and smooth action.

Sold through l e a d i n g ce- ramies and hobby supply distributors.

Distributorships' ava i lab le in some terr i tor ies

D I A M O N D T O O L and//'o ee,4oo&

DULUTH, MINN. IN. ]908 TORONTO, ONT.

C E R A M I C

Manual on Decorating

T h e Ameri- ~ i ~ ~ i i can Art C l a y - ~ ' 2 Company h a s p u b l i s h e d a new 6 0 - p a g e d e c o r a t i n g book. ' Ceram- . . . . . . ic Decoration," .... by Lois Culver Long is enhan- c e d b y 1 7 7 photographs of examples of contemporary pottery and sculpture.

Chapter titles sum up this 8~2" x 11" book's contents: Preparation, The Clay Itself, Slips and Engobes, Self-Glazing Engobes, Underglazes, Glazes, Mosaics, Overglazes, Glass Colors, How to Measure Kiln Tem- perature, Common Firing Defects and Remedies. Also included are a glos- saw, bibliography, product listing and index. For further information, write American Art Clay Co., Indianapolis 24, lnd.

Binders for CM T h i s durable

* r e e n c l o t h - bound binder is especially designed to hold and protect c u r r e n t and back issues ~,f C E R A l X l I C S

M O N T H L Y . A steel blade holds .ach i s s u e in place, and new issues are quickly

and easily inserted. For immediate identification, CE-

RAmiCS MONTHLY is stamped in gold leaf on both the front cover and backbone of this library binder.

Available at $3.50 from the publishers of CERAMICS MONTHLY, 4175 N. High St., Columbus 14, Ohio.

Long-Lasting Stilts According to the manufacturer,

Speedy Spurs which have served through 100 firings are still being used. The spurs are made from special high-temperature wire, formed to provide a tripod with one vertically pro- jecting point. The individual spurs can be adjusted easily to support

(Continued on Page 32)

FANTASY An amazing new GLAZE. Apply it on underglaze or glaze . . . it breaks up into beautiful patterns.

20 Beautiful

LUSTRES Specially prepared for easy painting.

GOLD and PLATINUM.

C-10 The most versatile Glaze available in powder or liquid form. Non-running. LEAD-FREE, Cone 06 to 6. indispensable for LUSTRE WORK.

50 Underglazes Pure clear colors.

30 One Stroke Underglazes

RENAISSANCE Brilliant-Antique and Satin Matt Glazes. LEAD FREE. A magnificent array of Colors.

CONFETTI The most talked about beautifully speckled glossy and matt Glazes. Cone 06 to 04.

Red and Orange Glazes

with and without speckles Cone 06 to 04

IF YOU HAVE NEVER USED RENAISSANCE

YOU HAVE NOT USED THE BEST.

Send for catalog.

OCTQBER 1958 . 7

Photo: The Cleveland Museum o~ Art, Silver Jubilee Treasure Fund.

CM's Pic of the Month: This porcelain covered bowl by Charles Lakofsky, Bowling Green, Ohio, is one ot nine pieces which received a special award in ceramics at the 1958 May Show of the Cleveland Museum of Art. The translucent porcelain bowl, which is almost five inches in diameter, was fired to cone 11. It has a wax resist decoration in brown and cobalt blue over a pale blue celadon glaze. The decoration was applied with melted wax over the unfired glaze surface. Then it was brushed over with a combination of red iron oxide and a soluable salt of cobalt. The cobalt~in solution is absorbed into the glaze before firing, and results in a soft feathering of blue, particularly along the sharp edges of the wax decoration. The iron portion of the pigment, not being soluable, remains in place until firing, during which some running and blotting takes place. Mr. Lakofsky is associate professor of art at Bowling Green State University.

8 CERAMICS M 0 NTN I~.,Y

WIRE & E N A M E L ~ A GOOD COMBINATION

Surely we all like enamel jewelry and are partial to it. But there are people in this world who not only like their jewelry to be colorful and decorative, but also dainty. With all our love for enamel jewelry, we have to ad- mit that it usually is not dainty.

However, we enamelists can solve that problem and get out of it gracefully by combining very small enamel pieces with wire which we have bent, shaped and curled up into ingenious ornaments. And the only extra tool we need is a pair of round-nosed pliers!

Another marvelous thing about this combination of wire and enamel is that no soldering is invo lved- -a boon for inexperienced jewelry, makers. Even beginners can make earrings, necklaces, pendants and bracelets f rom gold and silver wire. Enamels combined with the wire makes jewelry that is both flexible and light in weight. The effect is that of real jewelry~not so artsy-cra[tsy.

I'll try to explain how you can make two simple sets of earrings and necklaces and, f rom there on, I am sure you will be able to invent many of your own variations of this theme.

First, a very simple design: Take gold or s i l v e r wire (or if you do not want to spend that kind of money, brass or copper may be electro-plated or just sprayed with lacquer), but make sure the gauge is heavy enough so the wire will hold a given shape. Your wire should not be too soft or it will be easily beaten out of shape when it is stored with a lot of other j u n k - - I mean jewelry--in a c r a m m e d - f u l l box. But, the wire shouldn' t be too springy either. Spring wire has too much life of its own and will do what it wants to do (problem child) and not what you want it to do. So to prevent trouble, get semi- soft wire.

My advice for inexperienced jewelry makers is: Do not anneal the wire--even if you think that you would like it more pliable. You might get the wire too soft. Or silver wire may suddenly melt away in front of your very nose. I could give you a few more examples of beginners' accidents; but, do as I say-- take the wire as it is, it's better for you.

Now, on paper, draw the shape you want to bend the wire into. Take a length of wire and, with the round- nosed pliers, bend it into three loops as you see in sketch l. Cut both ends of the wire a half inch longer than the finished ornament will be. Then curl these ends into a round eye with your pliers. I f you have trouble with the straight ends of the wires persistently getting too far apart , cross them, pull a little and- - su rp r i se - - they will stay put for you.

You will need a lot of jump rings now. Well, you can buy them; but it is much better if you make them yourself by coiling lengths of wire around the rod of the desired dimension. Then, after the coll is taken off the


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C E R A M I C S B O O K by Herberf H. Sanders

An excellent introductory book on ceramics. Describes methods and materials used to make pottery by pinch method, coils and slabs--as well as wheel thrown and cast forms. It discusses ceramic jewelry, ceramic sculpture, decorative processes and firing the kiln. P a p e r bound, 96 profusely illustrated $ 1 o 1 5 pages.

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OCTOBER, 1958 9

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• . . x,_ uest ons

(Continued from Page 6)

u n d e r g l a z e colors across a t e s t tile in s t r a i g h t lines. B isque fire; t hen glaze only ha l f the tile, l eav ing the r e m a i n i n g h a l f of the unde rg l azed l ines exposed. Glaze f ire. Now you can check to see i f th is glaze is r e a c t i n g u n s a t i s f a e t o r - i ly w i th the underg laze , because on th is s ingle t i le you have bisque fired unde rg l aze and underg laze which has been g l a z e d . - - C M STAFF

~ 1 made a pa ir of cloisonne e(lrrings us ing a s t e r l ing back, wi th fine s ih 'er for the par t i t ions . In f in i sh ing the

earr ings I used a d i f ferent type of clip th(tn I had been f a m i l i a r wi th and soldered them on the wrong way. I laid them aside and did not notice the error un t i l I t r ied to wear them. I r emoved the clips by hea t ing with a smal l propane torch. I n so doing, I cracked the enamel and some of i t has ac tua l l y com,e loose and fa l l en out. Can I now refill the depress ions and retire w i thou t ru in ing the ear- r ings? I do not recal l how m a n y t imes the work has been fired. I know i t is possible to tire too of ten. Wi l l the enamel tha t is now all cracked clear up? A n d is i t possible to pu t new enamel over the old and have it look well?

S o r r y to h e a r t h a t you have t roubfes wi th a t r e a s u r e d enamel . Do not t r y to re t i re these ea r r ings . Your t roubles can only g row worse. I f I were you, I would pu t the clips back on the r i g h t way, and then fill the c racks wi th Duco cement . Le t i t dry. P u t on a n o t h e r layer , and r e p e a t the


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I0 ~RAMICS MONTHLY

..TEACHERLS PET

Balloon Molds for Slip Casting by Reinhold P. Marxhausen

Concordia Teachers College Seward, Nebraska

W I T H SO M A N Y new things going on today, it is difficult to know whether an idea still is original or not. However, here are some photos showing what some of my students at Concordia Teachers College have done with molds made over balloons.

A symmetrical form produced on the potter 's wheel always has a character of its own, but many of the ob- jects cast in plaster molds seem to have a sterile and machine-made look. We have discovered a way to make a mold which combines an "out of round" quality with near symmetry to produce an interesting resulting form.

The mold is made simply by pouring plaster of Paris over an inflated balloon form. The resulting mold then is used for slip casting in the regular manner.

The only problem encountered in making the mold itself is to prevent the balloon f rom jiggling excessively during the process of pouring the plaster. The easiest and most successful way of solving this problem is to prop up the balloon with clay. Or the balloon may be set in a bowl during the pouring operation.

With a bit more effort, it is possible to make even a two-piece mold from a balloon. Such a mold will enable one to cast a spherical form.

The forms from which molds can be made are interesting and varied as the shapes of the balloons them- selves. Balloons come in many forms-- long, curved, round, skinny, spirals, and some even have ears. To have the most fun, try them all.

BY CASTING only one section of a larger mold, one can come up with unique shapes like this fruit bowl.

Dime store balloons provide interesting

forms for plaster molds, and open

the way to many and varied cast pieces.

And for even more variety, you can cast the entire mold or just a part of it. You will find your balloon molds useful for making containers for flower arrangements, candy dishes, fruit bowls, ash trays, and any number of other useful pieces. A truly unique ash tray can be made f rom a balloon with ears. After the piece is cast, it can be t r immed so that the ears form the cigarette rests for the ash tray. The interesting fruit bowl, illustrated, was made by casting only a section of a larger balloon mold.

A 25-cent investment in balloons can provide you with hours of mold-making fun and lots of original and useful shapes, l

YOUR PET IDEA may be worth $10 - - if you'll share it! Just send a "Letter to the Editor" de- scribing one of your favorite techniques for working wlth children. Your letter should be two or three pages long, typed double spaced, and should be accompanied by two or three clear snapshots or sketches.

OCTOBER. 1958 ]1

KLEEN-UP TOOL

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S c h o o l P r i c e s o n Request Write for N a m e of Neares t Dis tr ibutor

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' O N E O F A M E R I C A ' S L A R G E S T C E R A M I C S U P P L Y " H O U S E S '

SCULPTURE WINNER: "Eleven Saints." ceramic sculpture on wooden base by J. N. Hard- man, North Burnaby, B. C., Canada.

SHOW TIME

n o r t h w e s t CRAFTSMEN from Washington,

Oregon, Idaho, Montana, British Co- lumbia and Alaska were eligible for the 1958 Northwest Craftsmen's exhibition which was held recently in the Henry G a l l e r y , University of Washington.

Judges in the ceramics division were Meg Torbert, c u r a t o r of design, Walker Art C e n t e r , Minneapolis, Minn.; James F. McKinnell, Jr., potter, Deerfield, Mass.; and Lou Swift. interior designer, Seattle. Sculpture juror was Philip McCracken, sculptor. Guemes Island, Wash.

The show was co-sponsored by the Seattle Clay Club, Lambda Rho alum- nae, and the Seattle Weaver's Guild. Several of the winning pieces are pic- tured on this page. Gladys Crooks" cannister set, winner of the Washing- ton Arts and Crafts Assn. award, appeared as the .June " P i e o f t h e Month."

c r a f t s m e n

PURCHASE AWARD: Ivarose Bavlngdon, Seattle, won a $100 purchase prize far her stoneware bottle with figure decoration.

AWARD WINNERS: The following Seattle potters received awards in the ceramics class of the exhibition: John D. Fassblnder, for a stoneware covered bowl with a gray glaze and oxide brush decoration: Lucille C. Nuff, for a bowl with a black matt glaze and brown decoration: and Sylvia Cllze Duryee, for a gold footed bowl with black design, r

1~2 CERAMICS MONTHLY

. . . k _ ~ u e s t i o n s

(Cot~ti?~ued from Page 10)

t ) r o c e d u r e u n t i l t h e f i l l e d - i n s p a c e i s l e v e l w i t h t h e e n a m e l . T h a t d o n e , w h e n t h e g l u e i s d r y , p a i n t t h e c e m e n t w i t h

p o s t e r c o l o r s to m a t c h t h e d e s i g n . C o v e r w i t h a l a y e r o f c l e a r n a i l p o l i s h . T h e p i e c e w i l l l o o k a s g o o d a s n e w .

I n c a s e y o u a r e a p e r f e c t i o n i s t a n d w a n t t o t a k e t h e

c h a n c e o f s a c r i f i c i n g y o u r e a r r i n g s o n t h e a l t a r o f p e r f e c -

t i o n i s m , s c r a p e off E V E R Y b i t o f t h e s o f t s o l d e r y o u u s e d on t h e b a c k o f t h e p i e c e o r i t w i l l e a t t h r o u g h t h e m e t a l a n d i t c a n n e v e r be s o l d e r e d a g a i n . P r o c e e d to e n a m e l a s

y o u d i d w h e n y o u s t a r t e d t o m a k e t h e p i e c e i n t h e b e g i n -

~fing. J u s t f i r e i t a s i s b e f o r e y o u do t h a t , t o h a v e s h a r p e d g e s o f e n a m e l r o u n d e d o u t i n t h e k i l n , b e f o r e t h e n e x t l a y e r s o f e n a m e l a r e a p p l i e d . G o o d l n e k ! - - K A T H E BERL

Q ls the sa~e ~edium used .fo~ mixing enamels for flat 4b~a-p~iztting work and for decorations done in relief?

No. U s e t h e r e g u l a r e n a m e l m e d i u m f o r f l a t w o r k .

l : o r d o t s a n d a n y d e c o r a t i o n d o n e i n r e l i e f f o r m , m i x t h e

e n a m e l w i t h t h e s a m e m e d i u m t h a t i s u s e d f o r m i x i n g

p a s t e f o r r a i s e d g o l d . - - Z E N A HOLST

All subscriber inquiries are given individual aHenfion at CM; and, out of the many received, those of general interest are sete~ed for answer in this column. Direct your inquiries to the Questions Editor: please enclose a stamped self-addressed envelope. AASTER M E C H A N I C M f g . Co.

a ~ l U , m ~ r a m .

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OCTOBER, 1958 13

The~UNDERGLAZE Series

3 W I S E

f o r the

M E N - A C h r i s t m a s M o t i f

T H R E E W I S E MEN, a traditional HOBBY DECORATOP Christmas motif with a modern touch.

lends itself nicely to round shapes like the large serving plate illustrated here. Although eight different colors are used in this design, the shades are subdued and the plate does not become too colorful.

After properly preparing and cleaning the greenware, the basic design is sketched on the shape lightly with a blunt pencil. Using a light tan or flesh-colored underglaze, the hands and faces of the Three Wise Men are painted in.

A darker shade of tan is used for the first camel. When painting in large areas such as this, remember to use broad brush strokes and a very generous amount of color on the brush. The camel on the right is put in with reddish brown underglaze, again using free strokes and a large brush.

demonstrated by M A R C BELLAIRE

The clothing goes in next. The trousers oi the first wise man and the blouse of the third are purple. The. gifts that all three are holding, are put in with gold-colored underglaze. The turban of the first and blouse of the second wise man are light blue. Turquoise is used for the blouse of the first, the fez of the second, and the trousers of the third wise man. Reddish brown is used for the ornament on the turban, the remaining trousers. and the crown of the third wise man.

The remaining camel, details and border of the design are black. Notice that a finer watercolor brush is used for details. A sgraffito tool is used to scratch through the underglaze for the eyes, and also for the lines in the border. The Esterbrook Scratch Knife ~33(I is recommended for this purpose. The glazed and fired piece is shown below. •

FINISHED AND GLAZED, the plate with the Three Wise Men design

is ready to be put into use for the holiday season.

~i~ ~ ~!~ ~<~,~

7 ̧

. i ̧ ~ ( ; i ¸

I/~ thi~ series o/ arti- clef, no specific brand of upzderglaze is either suggested or implied. The nationally advel- tised brands are high- /)' competiti~'e in both quality and price. M~. Bellaire's advice is to use those brands you /eel gi~'e you the best re~ultv.

ly 2. Hands and faces are put in next with light tan or flesh-colored underglaze.

3. Free brush strokes and a darker shade of tan are used for the first camel.

4. Reddish-brown underglaze is used 5. Purple is used for the trousers and blouse of for the camel on the right, two wise men. Gifts are golden yellow.

6. Light blue is used for the blouse of the second and turban of the first wise man.

7. lurquoise and reddish brown are used for the remaining clothing.

8. Black is used for remaining camel and deta i ls . Eyes are sgraffitoed.

9. Sgraffifo also used for border lines. Piece now is ready for bisque firing, then glazing.

OCTOBER, 1958 15

Here's a new use for leftover clay/

FUN w i t h 'APPLE by BI:TSE I.EWIS

M O L D S '

~4~i~:~:.~ : . , ~ : . . • ~ , , - . : i , . . . ~,~:~____~;i~z~, .~4",:~,~ . .:.:. •

ISN 'T I T A SHAME to throw those large left-over pieces of rolled-out clay back into the bin after vou have finished making a slab-built or draped piece? There must be many other people who feel, as I do, that it is a pity to throw back this clay which has been carefully wedged, evenly rolled and is all ready to use.

Well, why not see if your scraps are large enough to make some small assorted dishes which take only a few minutes to shape. Ash trays, candy dishes, and other small decorative pieces can be made from these leftovers.

Recently, after completing a group of drape molds, I had two particularly nice crescent-shaped pieces left over. I searched through my collection of plaster molds, but found I had no hump small enough to use for them. So I draped the crescents over two large apples and decided to make ash trays. I formed the cigarette rests for each with my fingers (see photo).

These pieces took a little longer to stiffen than those made over plaster molds, but I had no difficulty trimming or cleaning them up after removing them from the apples. The dimple from the apple made a naturally balanced bottom for these little fellows; and when fired and glazed, I was surprised at the interest and comment they attracted.

You needn't be limited to apples while "'robbing the fruit bowl," either. Oranges, grapefruit, pears and most other smooth-surfaced fruit can be used for projects of this type. And the waxy surface of the fruit aids in re- leasing the clay.

So the next time you're working with rolled-out pieces of clay, count to 10 before you wad up the leftovers and throw them back into the bin. You probably can make something useful from those scraps, not to mention the fun you'll have discovering new mold shapes. •

Be sure you count to 10 before you throw

those leftover scraps of

rolled-out cloy back into the bin.

W h y not try draping these pieces

over apples, oranges or other fruit?

Ib CERAMICS MONTHLY

TEACHING TECHNIQUES

FIGURES from

FIREBRICK by EDRIS ECKHARDT

T H E CARVING, or subtraction, technique is one in which we arrive at a positive form by "cutting away." We'introduced this technique in April, when we employ- ed a block of leather-hard clay. Carving projects such as these, acquaint the student with three-dimensional design and the problems it brings.

However more careful planning and thinking are required for this project than is involved when carving soft clay. When working with soft clay, the child in- stinctively feels that if he lops off too much, he can add it back on later.

In this project, he will be working with brick and, for the first time, he realizes that a piece cut off rapidly-- without thinking---cannot be put back on. He is on his own in a true carving experience such as is encountered when working with stone. Once the material is off it's off!

The type of brick we use for brick carving is an extremely soft firebrick, the kind that is used in electric kilns. The brick, a light yellow in color, is so soft that it can be cut or incised with one's fingernail, and very easily indented with an ordinary lead pencil. Although the brick seems extremely soft and fragile while it is being carved, after soaking in slip, glazing and firing, it is very strong and tough. In fact, it is durable enough for use outdoors.

In brick carving, as in all types of carving, the design must be simple and sculptural, accented with strong details. Draw the simple design on the outside of the brick before you begin to carve. Use a soft lead pencil or crayon to draw on the block. Then "X" out all the high points and make sure that these areas remain uncarved until the very end. This will prevent you from chopping your piece down to a smaller and smaller size.

SEATED OAT by the au.thor's 1S-year-old sfudent, Terry Wesley. Carved in firebrick, 'the piece is 14" high. No.tice the in.teresfing .texfure.

Drawing on a brick is a little on the tricky side. You must draw your design all around the block, carrying the drawing from side to top, over to the reverse side, etc.. so the forms will agree in their three-dimensional quality (see sketch on next page).

You will notice that the drawings on each surface of the brick are not separate sketches; they are all related. The line for the head is brought all the way around the block to the other side. The same holds true for the rabbit's tail. You start the tail in the back at the same place that it shows on the side or profile view.

Another thing to keep in mind when drawing your design on the brick is to try to have the design fill up the whole surface of the brick (photo 1).

Before beginning to carve the brick, keep in mind that this is a very messy project. It would be wise to have

(Please turn the #age)

i

OCTOBER, 1958 17

below), using soft pencil. Keep drawing simple and try to fill most of the block.

2. First stages of cuffing are done wlfh a dull knife. Remember that you cannot put back what you have cut away.

FINISHED SCULPTURE, after soaking in slip and firing, is strong and durable and much lighter in weight than most other brick sculpture.

F R O N T

3. Round out the indlvldual forms and curves of the shape with a modeling tool, leavlng the "X-ed" areas largely untouched.

4. Work on one side at a time. When it is finished, compare it wifh the other side. Then finish the second side.

B A C K

L E F T Sl DE TOP R I G H T $1 DE

THREE-DIMENSIONAL S K E T C H must be drawn on all sides of the brick, with the exception of the bottom which is left uncarved. Notice how the drawings on each face of the block are related. The design must be carried from side to fop, over to the reverse side. Front and back sections also must be sketched on the brick. High spots in the design, which will not be carved, are marked with an "X."

18 CERAMICS MONTHLY

Firebrick carving

teaches students to t h i n k -

for what is hastily

carved off cannot be put

back on. Once

a piece is o f f - i t ' s off. I

FIREBRICK (cont.) plenty of newspapers on the floor as well as on the work surface. Brick carving also produces a great deal of dust which is highly irritating.

To keep the dust to a miuimum, I immerse the firebrick in a pail of water before carving, and allow it to become thoroughly wet. This not o n h cuts down on the' dust. but it also makes the brick easier to carve. Carvin,, may be done with a paring knife, jackknife, an ordinary modeling tool, a wooden stick, lead pencil, etc.

You might also want to have a bottle of hand lotion nearby because the dust from this particular brick is quite irritating and may have a dlTing effect on the skin.

Now we are ready to carve the brick. Larger un- wanted sections, such as the corners of the brick, are cut off first (photo 21. I use a dull knife for this step. Always keep in mind that you cannot put back what you have taken away.

Using a modeling tool, begin to round out the individual forms and curves of the shape (photo 3). Notice

ROUGH TEXTURE of firebrick lends itself nicely to this carved fish.

~CTOBER, 1958

how tile spots marked with the "'X" remain largely untouched. As you proceed with your carving, keep re- drawing ttre basic form with crayon or pencil.

Carve one side at a time. When you have finished with one side, compare the top view of it with the other side (photo 4! . You will notice now how the "X ' s" de- noting the high points were used in carving the right side of the rabbit. This illustrates why simple drawing is a muvt in this project.

After completing preliminary work on one side, work the other surfaces of the brick in the same manner . Then do the final work and scrape off any "X's" or guide lines which remain.

When the brick is carved exactly the way you want it. you are ready to soak it in slip. At this point, you will have to do a little experimenting. The slip must be mad(' VmT th in- -a lmost the consistency of milk so it will penetrate readily into the pores of the brick.

I usually use a red-clay slip because it fires hard at relatively low temperatures. But here's where the experimenting comes in. Soak a small piece of firebrick in the ~lip of ) 'our choice. If it waterlogs and cakes up with slip almost imInediately, your slip is too thick. If the slip is of the right consistenc.v, it will be absorbed into the cente~ of the brick.

Another device that you may use to coax the slip into the center of the brick, is to place the slip and brick over a flame and gently boil it until the slip is driven all the way through the brick. When you have succeeded in ~etting the slip through the test brick, remove it and use the same procedure on your carved piece. When your carved brick has been soaked with slip. remove it and allow it to dry completely before firing.

If vou wish to glaze the piece, be careful to brush the glaze against the texture of the brick so the irregulari- ties in the brick do not become completely filled with alaze. Part of the charm of the brick carving is its rough, ~ponge-like texture.

I usuall.~ I choose matt ot veluIn-matt glazes for this type of brick carving: and try to select glazes that mature


19

T H R O W I N G O N T H E P O T T E R ' S W H E E L

CARVING WHEEL-THROWI

I. As this bowl is thrown, a specially flared rim is brought out. The shape of the bowl has been pre-planned so that an angled handle or lug may be carved from the rim.

b y T O M S E L L E R S

i ~ A V E YOU E V E R wished to change the character of a piece of wheel-thrown pottery? One of the ways this can be done is by carving away sections of the clay whih' the pot is leather hard. This carving approach inay b(' pre-determined, or you may carve away simply on a spur-of-the-moment impulse.

While, technically, this is not a th~ou.'ing project, it is important to include carving in vour throwing "reper- toire"- particularly in the case where a carved effect i, planned before throwing has commenced.

You might change the character of a pot by carving simply for the fun of experimentation- to see whether the form ('an be enhanced by being modified in som~' way as is the case with the pitcher illustrated here. (By the way, this type of experimentation can make an excellent design project.) Or. you may desire to creaw new forms without sacrificing the function of the pot. This also is another al)proach to this project of changing by cutting away, particularly when pre-planning a carved effect before throwing. Then. you might carve a pol simply to make it function better. This is true in the case of the bowl. illustrated here. which has been thrown especially for trimming. The carving process provides a handle or lug for it.

Since, in most cases, the alteration of the pot will take place at the rim, it is best to do the carving work after the piece has been foot rimmed. If the pot is carved before it is foot rimmed, it would be almost impossibl(' to get it back on the wheel for trimming.

Generally. the best time for the carving process is immediately after foot ing--before the pot becomes too hard- and after it has set sufficiently. It must be abh, to hold its shape without deforming while it is held in the hands for carving. Therefore, the optimum time to carve a pot is while it is in a not-too-advanced stage of leather hardness.

If you are planning a carved effect in advance, as is the case with the bowl, you may place certain markings on the pot as it is thrown. These will serve as guides for carving away, after throwing is completed. When these markings are planned and made as the pot is thrown, it is not necessary to return the piece to the wheel later for this purpose.

Two types of carved-away pots are shown here. The first, a bowl, has been pre-planned for use as a lugged bowl. Since its design and function have been planned in advance of throwing, special markings can be placed on it as a cutting guide as the piece is thrown. The second, the pitcher, was designed as the work pro- gressed. The cuts on the rim of the pitcher were made simply on impulse after the pot had been foot rimmed.

You will want to experiment with and practice both of these carving techniques for, whatever your reason for cutting away, the carving process is another of the many variations in the never-ending series of things thin can be done during the throwing processes. •

2. A line is marked on the pot with a pencil while it is still on the wheel, eliminating the necessity of centering again later. The pot is dried to the leather hard stage.

3. While the rim was still intact, the pot was foot rimmed. The section which will make up the lug is marked, and the excess clay of the rim is removed as" carving begins.

?¢ CERAMICS M©NTHI_~:

POTTERY With a po t ter ' s kn i fe

you can change

the charac ter of a pot ,

create new f o r m s

w i thou t sacr i f ic ing

funct ion, or

change the fo rm

to m a k e it

func t ion bet ter .

~ , ~ ~'~-~

I. Immediately after throwing is completed the spout of the pitcher is pulled. Then, on the spur of the moment, it was decided to change the shape of the pot by carving the r i m .

2. When the pot is leather hard, a potter's knife is used to cut away a section of the rim. The cut is made by feel--not according to any pre-concelved plan--and the work is observed.

3. Additional carving is dane for a more pleasing effect. Since placement of the handle depends upon the treatment of the rim, the handle is pulled and attached immediately after carving.

OCTOBER, 1958 2i

S t r i c t l y S t o n e w a r e Learning about Glazes (part 2)

This month, Mr. Ball presents the second article in his series on glazes. The object o[ this neu' series is to help the read- er soh,e his own glaze problems through testing various glazes and re- cording the results. More glaze recipes also are given.~-Ed.

TEST TWO Now that you have invest igated at

least one glaze, you can learn some more about it. One impor t an t ques- tion in relat ion to a glaze is: Wil l it react wel l w i th colors? I t saves time if you can make a quick, simple test of this pa r t i cu la r quali ty. If possible, I prefer a glaze that will p roduce a number of good colors. H o w e v e r , occasionally a glaze will be outs tand- ing in only one color; but that one color is so good, that it is worth all the t ime it took to test the glaze.

This is the p rocedure you follow to test a glaze for color. Use a small muff in tin and place about a tea- spoonful of each of the following materials in a separate c o m p a r t m e n t : Copper c a r b o n a t e , cobal t oxide (b lack) , manganese carbonate , iron oxide ( r ed ) , t in v a n a d i u m glaze stain or underglaze, ruffle and tin oxide.

A d d two or three drops of gum and two or three drops of your glaze to each color. T h e n a d d enough water to each c o m p a r t m e n t to make the mixture a c reamy consistency.

Now center one of your bisque pots on the pot ter ' s wheel or on a decor- ator 's wheel. Beginning at the top, pa in t a ~ - i n c h band of the first color on both the outside and the inside of the pot. Use a grea t deal of water and very little p igmen t ; and apply many thin layers of color as the wheel revolves. The bisque clay must be just covered, but there should not be a thick layer of p igment on the pot.

Repea t this band ing procedure for each color so you have seven bands of color on both the inside and outside of the bisque pot. When the pot is dry, spray a heavy layer of your glaze on the pot. Fi re it in ei ther an oxidizing or reduc ing atmosphere . For a more comple te test, pa in t the stripes on two pots and fire one to

by F. C A R L T O N BALL

cone lO oxidat ion and the other tq cone 10 reduction.

I f the colors were pa in ted on the pot too lightly, the fired color will be pale and may not be visible at all I f the colored bands were appl ied too heavily, some will have turned near ly black and others will make the glaze crawl away from the color. I f too thin a layer of glaze was sprayed over the colors (a common mis take) , it will be difficult to d raw any conclu- sions f rom the test.

I f the appl icat ions of colors and glaze are average, and the firing is successful, the finished pot will suggest a number of things. In the cone 10 oxidat ion firing, the copper carbonate will be green or turquoise. T h e cobal t oxide will be a strong, domina te blue general ly with a violet tinge. T h e manganese carbonate will be a m u d d y violet; and the red iron oxide will be a m u d d y yellow, a reddish brown or a brown-black. The tin v a n a d i u m stain will be a br ight yellow. T h e ruti le will be a pale, mot t led blue, c ream or tan; and the tin just a fair white.

In the cone 10 reduct ion firing, the copper ca rbona te may be a green.

pink or maroon red. The cobal t oxide will be the same strong blue you got in the oxidat ion firing. The manganese carbonate will be colorles~ The red iron oxide will be a / r ay - green, olive green, brown, red-brown. or brown-black. The tin vanad ium stain will be colorless. The ruti le may be tan. orange or a mott led blue and white. The tin oxide will be pract ical ly colorless with no opacity.

The colors of these tests will give vou a slight indicat ion of the colored glazes you can develop with a given glaze. You then can decide whether or not to continue with your glaze, or to test another in the same manner . If ~ome of the colors are good, it is worthwhile to continue with the glaze.

If the colors are good, and the glaze wasn' t appl ied too heavily, and if the bands of color d idn ' t run: then thv glaze is excellent as a t ransparent glaze. I t is one you will be able to use over underglazes and engobes.

If the bands of color ran or sagged on your test pot, do not el iminate it as a glaze for colors merely because it flowed. Some of the best glazes are good because they do flow.

(To be continued)

ADDITIONAL RECIPES FOR TEST ONE #11--Transparent satin matt glaze.

per cent Potash Feldspar 40 Kaolin 14 Flint 22 Whiting 10 Barium Carbonate 14

I00

# l ' )--Bright transparent in oxidation; milky semi-satin matt in reduction.

per cent Potash Feldspar 31 Kaolin 13 Flint 20 Zinc Oxide 3 Dolomite 33

100

13--Bright, stiff transparent.

Potash Feldspar Kaolin Flint Whiting Talc

per cent 40 10 20 10 20

100

~14--Bright, stiff transparent glaze. per cent

Potash Feldspar 34 Kaolin 24 Flint 19 Whiting 3 Dolomite 20

100

,~ 15--Satin matt, fat, smooth, translucent. per cent

Nepheline Syenite 50 Kaolin 19 Flint 10 Whiting 21

100

:~ 16--Good translucent, bright, smooth glaze. No matts in added material tests.

per cent Kaolin 6 Flint 41 Nepheline Syenite 26 Barium Carbonate 11 Zinc Oxide 4 Dolomite 5 Whiting 7

100

22 CERAMICS MONTHLY

ENAMELING

TECHNIQUES

by KENNETH F. BATES

hi preHous CM article.~ on enameling, Mr. Bates discussed basic recommended enameling procedures (May 1957), the technique o[ cloisonne (June-July 1957), ,t n d plique - a- jour (January-February 1958). This month he describes his method [or doing champleve.--Ed.

CHAMPLEVE NECKLACE wifh leaf motif by Peg Boarts.

C H A M P L E V E

T H E VERY EAR LIES T type of enameling is known as chample~,e. By accident, perhaps, some Celtic or Gallic warrior discovered in the glass-making process that it was possible to make the substance adhere to metal. At any rat(', examples of enamel used as inlay on battle equip-

INTRICATE BOX, an example of 19fh Cen- tury French champleve, is in the author's private collection.

ment and various tools have been a t t r i b u t e d to peoples dwelling in areas sur- rounding the Ro- man Empire at about 240 A.D. Some of these crude examples of champleve are effective, but the great develop- ment of the techniques came during the Gothic period. I t had particular appeal for the medieval craftsman p e r - haps because the

method is akin to carving and carved surfaces which were characteristic of the culture of the time.

The term, champ leve , is French and describes the nature of the process--a raised (leve) field ( c h a m p ) of metal. In other words, we might say that champleve consists of sunken areas inlaid with enamel which are juxtaposed with the remaining areas or lines of metal.

More than any other enameling technique, this one offers a play of sparkling colors in contrast with either polished or oxidized metal. I t is a most gratifying combination of two materials--enamel and metal.

Preliminaries As in the case of any serious design, the preliminary

thinking, planning and sketching should be done on paper before going ahead with the finished piece. Make the drawing in detMl and to scale, and also render it in full color. I t is essential that the artist consider the value and color of the metal chosen and select enamels which will give the proper contrast when the work is finished.

The metal for champleve should be somewhat heavier than that used for other types although it should not be so heavy as to appear clumsy. I t is safe to employ 18 gauge, but if the piece is a panel to be set in a box cover

or to have a similar use, metal as heavy as 16 gauge is advisable. The necessity for a heavy gauge is obvious

(Please turn the Page)

OCTOBER, 1958 23

Photo: Courteay of the Cleveland M~.;eum of A~I.

MEDIEVAL CRAFTSMEN were greatly attracted to the champleve technique. German plaque above, from Saxony, dates back to the latter half of the 12th Century.

C H A M P L E V E (continued) since areas of the metal are to be eaten away with acid in order to create recesses to receive the enamel. Gold cannot be used for the etching process to be described because it does not respond properly to the nitric-acid solution used. We will concern ourselves only with copper and silver which can be etched, or eaten away, with nitric acid. However, there is a possibility of cold- plating the exposed metal.

Acid Resist After the design has been carefully traced on the

metal, the next step is to apply a resist material to the

surfaces which must be protected from the etching acid. The most satisfactory material for the purpose is asphaltum varnish-- the kind obtainable from craft tool and supply companies (it has a different consistency from ordinary asphalt paint found in hardware stores). Do not dilute the asphaltum, but apply it as it comes from the can. I find that asphaltum thinned with turpentine is less apt to produce a clean clear-cut edge; and, where the application is thin, the etching acid tends to cut into the surface, leaving a rough or pitted effect.

For brushing on the resist you will need a brush with a very sharp point. This is more essential than the size of

VARIATION of champleve by Jean O'Hara. Miss O'Hara covered both the raised and etched areas of her plate with enamel.

PENDANT by the author features champleve in the 0arallel bands and motifs at the four corners. Center panel is plique-a-iour.

24 CERAMICS MONTHLY

Work out ske÷ch of design in black and wh;te and color. Then trace the design on the metal.

Brush asphaltum varnish over areas to be protected from etching acid - - background, edges and reverse side of the piece. 3 Immerse the piece in heated nitric-acld solution to etch out

the exposed design. Swab constantly to disperse air bubbles.

the brush. The varnish, in its thick, sticky state, must be kept flowing from the very tip of the brush. This can bc done if the brush is cleaned occasionally with turpentine. In the painting, pay particular attention to all side-edges and the back of the metal. Repeat the application if necessary to fill up tiny pin holes left by bubbling of the varnish.

Drying the varnish is important. Hea t may be used to hasten the process, but it is not necessary to wait until the coating is extremely hard (my students have had better results by letting asphaltum dry only to the point of tackiness). Under ordinary conditions, you should be able to go ahead with the etching after leaving the varnished piece overnight in a room temperature of 60 ° to 70°F.

Etching Process

To give an exact recipe for the nitric-acid etching solution or to specify to a split second the exact length of time for immersing the metal in the acid would be as impractical as to tell a good cook how long to bake a cake. This is a matter involving observation and common sense. I shall, however, try to approximate the proportions and the timing.

A basic acid solution is started with a two-to-one mixture (2-parts water to 1-part nitric acid.) Be careful to add acid to water , never water to acid. Place the solution and metal in a porcelain teacup or pyrex dish, if the size of the piece will allow. Use enough solution to cover the piece. I t is a good idea to rest the metal on a small block of wood to make it more accessible to tongs. For best results the acid bath must be warm. so place the con-

tainer over very low heat or, better still, set it in a pan of water held over heat. Never bring the pickling solution to a boil, but keep it hot at all times.

When the metal is immersed you will notice tiny bubbles forming on its surface. These must be constantly brushed away to allow the acid to react properly to the metal. Wrap a piece of soft rag around the end of a narrow stick and, using this swab, keep the acid in con- stant agitation until the proper depth or "bite" has been reached.

The depth of etching required for most champleve work is approximately 1/32-inch but, since there is no way of measuring this exactly, one must judge by feel. The strong acid solution, kept at a near-boiling point, eats away the metal sufficient for enameling in a surprisingly short t ime--usual ly about one and a half minutes. The piece then should be withdrawn, with copper or wooden tongs, and all acid immediately washed away with cold water. I f the edges of the etched areas are rough, and the asphaltum seems to have been floating away in the acid bath, you can be sure the bath is either too strong or too hot, or both. Reduce the heat and dilute the acid. A little experimenting will enable you "to eat" metal straight down with smooth, clean-cut, vertical edges; even hairlines can be created if the varnish is applied with an ordinary writing pen.

When the etching is finished and the acid washed off, dry the piece and remove the varnish with turpentine, paint remover or burn off with the flame from a gas blowtorch.

Next month, Mr . Bates will conclude his article on champleve, showing how to Jill in the etched areas with enamel.--Ed.

OCTOBER, 1958 25

Incised pots are bisque fired, wrapped

with copper wire and then glazed.

In the kiln, the copper

combines with the glaze to create

finishes with interesting and unusual

colors and textures.

Copper Wirt

RUNNING EFFECT on this piece by Ed McClees was accomplished by allowing loose ends of copper wire to hang free at various polnfs from a circle+ of wire. The bowl, fired to cone 02, has a soft medium green background with darker copper green blending.

DETAIL OF WIRE APPLICATION on a bisque piece. This is just one of many ways wire can be applied for various effects.

26 CERAMICS MONTHLY

VERY SIMPLE SURFACE DECORATION features an ivory background with a pattern of dark copper green. If, too, was made by letting loose ends hang from a circle of copper wire.

IRREGULAR PATTERNS such as this also are possible with the copper wire technique. Here the pot was

irregularly bound wlfh wire from which loose ends were allowed to hang. The pot, by

Karen Harshbarger, has a soft mauve tint with a contrasting pattern of dark copper green.

for Surface Decoration by ALLAN A. EASTMAN

O t N E OF THE MOST FASCINATING methods for decorating the surface of earthenware pottery is through the use of copper, in wire form. Copper wire is simple to use and, when wrapped around bisqued pots which are later glazed, it creates a most interesting and unusual finish from the standpoint of both color and texture.

You undoubtedly will want to try this technique, so here is the procedure you follow to make a decoration similar to the one shown in the large illustration on the opposite page. I used a hand-built pot made from a buff- firing clay body. However, any clay which will stand a temperature of cone 04 to 02 can be used. Allow the clay form to reach the leather hard stage; then cut concentric circles around the pot. I used a wooden modeling tool with a saw-tooth edge for this step. Be sure you incise the lines deep enough to hold the copper wire securely.

Allow the piece to dry and then bisque fire it. After bisque firing, the pot is ready for the soft copper wire which has been drawn down to 24 gauge. Fine copper wire may be purchased on spools in any hardware store. I have found that 24- to 28-gauge-wire works best.

Before you begin to wind the wire around the pot, first wipe the piece with a damp sponge to remove dust, dirt and other foreign matter.

Now we are ready to begin wrapping the wire around the pot. Form a coil from the wire, making a

hook in the end so the loop will hold its shape. Starting at the top of the pot, loop the wire over the pot and pull it taut so that the loop rests in the first groove. Bridge the wire over the ridge of the pot into the next groove, and form another loop of wire around the pot.

Continue this procedure, alternately bridging and looping the wire until you reach the bottom of the pot. If you should run short of wire, a simple hook on each of the ends you are joining will make a sturdy connection.

After completing the final circle of wire, insert the end of the wire under the last coil; bend it back over the coil and cut it off. This will keep the wire from uncoiling and will hold it tight against the wall of the pot.

Now you are read?" to glaze the piece. I poured a commercial ivorv transparent glaze on the inside of the pot, and sprayed the outside with the same glaze. Al- though any glaze which has a maturing point between cone 06 and 02 may be used, I prefer the ivory transparent because of its warm tone and the reaction it has with the copper.

The pot then was glaze fired in the usual manner to cone 03. Be sure that the pots are properly stilted and check carefullv to see that there is a good deal of kiln wash on the sheh-es. There is a tendency for the


OCTOBER, 1958 27

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Firebrick (Continued [rom Page 19)

between cone 06 and 04. I also try to keep the colors in a rather earthy or low-key color scheme. Earthy, stone- like colors are much more desirable on brick carvings. Avoid brilliant or garish colors--bright reds, brilliant blues, and loud yellows and greens.

AT T H I S POINT, I would like to address my remarks especially to the teacher. Since this project involves three-dimensional thinking and drawing which the average child does not normally encounter, it would be wise for the teacher to try this new approach herself before presenting it to her class. Carve one or two blocks yourself, and try the three-dimensional approach to drawing. It also might be a good idea to have a half-finished block, showing the "X'd-out" points, to hold before the class before beginning your demonstration. I usually find this to be helpful in getting the idea across.

You will find that this brick carving technique is suitable for many items. The brick carving might become a small dish or tray; it might be a part of a brick wall installed in a garden or barbecue pit; or it might be used for a free-standing figure, animal, bird or fish. I also have found that this type of carving can be used for making interesting interior and ex- terior brick designs. Various sections of the firebrick can be used for separate parts of the design. Firebrick is very easy to carve in the soft state; but, when finished, it is not only handsome, but the many air holes also make it much lighter in weight than most sculpture and brick designs. •

Copper W i r e (Continued /rein Page 27)

glaze and copper to flow and drip, particularly at higher temperatures.

Varying effects may be obtained by firing at different temperatures and also by using different glazes. This particular pot has a dark green, almost black, crystalline effect. The inside and background spots are a warm ivory, while the texture is slightly r o u g h .

A cone 06 firing will barely melt the wire, thus causing a rather rough texture with considerable trace of the oxidized wire in evidence on the fin-


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G~RAMIGS MQNTHLY

f r o m o u r r e a d e r s

For Smooth Bottoms When I see a b e g i n n e r s a n d i n g and s c r a p i n g a piece

of g r een w a r e to make i t f l a t and level, I show them my method which is easy and a rea l t ime saver . P o u r a smal l a m o u n t of w a t e r on a smooth and solid s u r f a c e and r o t a t e

the g reen ware on it. Be ca re fu l w i th the w a t e r ! T h i n l y cas t pieces w o n ' t t ake much. They ' l l soak i t up, ge t soggy and fa l l a p a r t . So use w a t e r spa r ing ly .

To check to see i f the piece is level, sl ide i t off the edge of the su r face , m a i n t a i n i n g the mot ion whi le s l id ing the piece. S topp ing the mot ion causes a suc t ion to fo rm. A f t e r checking, i f the piece sti l l is no t level, add more w a t e r and r e p e a t the process.

--Mrs. Louis Masin, Lorain, Ohio

Lacy Effects With Frit I t is possible for the ename l i s t to ob ta in a n i n t e r e s t i n g

Lacy effect by u s i n g an opaque, low-fire ce ramic f r i t . App ly a coat of media (gum or oil) to the p rev ious ly fired enamel sur face . Spr ink le f r i t u n e v e n l y on the we t med ia and let the piece d ry t h o r o u g h l y ; then fire a t a f a i r l y h igh tem- p e r a t u r e (1550-1600 °) fo r t h r e e minu tes . The r e s u l t is a f ro s ty p a t t e r n . I f desired, a coat of t r a n s p a r e n t colored enamel m a y be appl ied over the top of the f ired f r i t .

I have found the fo l lowing color combina t ion to be ve ry successfu l : Apply a coat of flux and fire (unde r f i r e s l igh t - ly) . Then app ly l igh t blue opaque and fire. Sp r ink le on f r i t and fire; t hen app ly a t h i n coat of l igh t blue or tu rquo i se t r a n s p a r e n t enamel and fire aga in .

--Pearl Stephen, Santa Clara, Calif.

Reclaiming Clay

To avoid c logg ing d ra ins , and to h a v e a r eady s u p p l y of clay fo r p l a s t e r work, a l low all c lay w a t e r to se t t le in a l a rge bas in . Le t i t s t and o v e r n i g h t and t h e n d r a i n off all excess wate r . The r e m a i n i n g clay w a t e r can be poured in to

d r y i n g ba t s and reused i f i t is all one k ind of clay. I f i t is a m i x t u r e of d i f fe rent clays, i t can be used f o r p l a s t e r work.

--Lee and Irving Levy, Levittown, N.Y.

D o l l a r s f o r y o u r T h o u g h t s

CM pays $I to $5 for each item used in this column. Send your bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio. Sorry, but we can't acknowledge or return unused items.

OCTOBER, Iq58 •

CRAFTS . SPRAY BOOTH

Ideal for School and Studio

T h e Craf too l S p r a y Booth is s tu rdy ant i sol idly con- s t ruc t ed to w i t h s t a n d con-

-~ s t a n t use. R u n s silently. Exce l l en t fo r a i r b r u s h , g l a z e s p r a y i n g a n d m a n y o t h e r s p r a y ope ra t i ons p e r f o r m e d

-~ in a c r a f t s shop.

~g O Equ ipped w i t h a hall- bearing totally enclosed

-g 10" f a n e x h a u s t with self- closing b u t t e r f l y d a m p e r .

$ Glass wool f i l t e r in booth ~g ca tches s p r a y m i s t a n d re-.

sidue.

24" wide x 28" deep x 28" h igh moun ted on a 32" high~ t e n s i o n-bol ted a d j u s t a b , 4

~: s t and . Ove ra l l h e i g h t 66" . F in i shed in g r a y h a m m e r -

~g tone. Complete w i t h m o t o r exhaus t , t u r n t a b l e , s t a n d,

-g con t ro l switoh, less a i r f i l t e~ a n d r e g u l a t o r .

No. 2019 S p r a y Booth . . . . . . . . . . . . $125.00

~[ No. 2020 S p r a y Booth same as No. 2019 less s tand . . . . . . . . 115.00

No. 7003 A i r F i l t e r a n d R e g u l a t o r . . . . . . . . . 18.95

No. 7007 Rep lacemen t ~Ia~s \ v n o l f i l t e r l . S O

Jl-

11-

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29

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Ceramic Materials and Equipment

SPECIAL PREPARED BODIES Our business has been expanded to include all types of clay bodies--var|ed colors for slip-casting, throwing and sculpture. Cones 06 to B (art ware and stoneware). Write for special clay sheet.

OUR AIM IS QUALITY JACK D. WOLFE CO., INC. 62 Horatio St. N.Y.C., N.Y.

(WA 4-6019) Wholesale and Retail

Contact Trinity for Superior

CERAMIC and PORCELAIN CLAYS

I FREE! Write for the New CM Bookl;st Today!

OVERGLAZE NOTEBOOK

Facts on Firing by ZENA HOLST

VENTING THE KILN: M a n y fa i lu res in

firing overglaze decorations are caused from improper venting of the kiln during the burning-off process of the volatile oils that are used in mixing mediums for the pigments. Vapor and smoke must be allowed to escape entirely before the kiln is closed for completion of the firing. (This specifi- cally applies to the small electric kilns and not to gas kilns which are self draught.)

Closing the kiln too soon will cause foreign matter to settle, and moisture to condense on the ware. This will result in unsightly blotches such as peppering, mildew, moisture circles, etc. Sometimes these can be burnt out in a second firing and the decorations repai red--but not always.

The length of the time needed for venting cannot be set by a clock. It all depends on the kind of decoration, the number of pieces in the kiln, and whether shelves have been used. A heavy load, with decorations contain- ing many oil mixtures, will require a longer venting time than fewer pieces with lighter decorations. At- mospheric conditions also affect venting time.

BEWARE OF OVERFIRING: Overfiring overglaze decorations causes more dis- pleasing results than any phase of the painting technique. Metals will crackle, slur and become dull. Lustres will become frosty or will crystallize. Mineral colors will fade, as will enamel colors. I t is much better to under-fire and repeat the firing than to overfire and ruin a piece which cannot be repaired.

STILT THE WARE: A clean and dR" kiln is necessary for firing overglaze decorations. I t is not as essential for the bottom of the kiln and the shelves to be protected with kiln wash during overglaze firings as it is for greenware and glost firings. However, it is a good idea for the prevention of dust, and makes for a cleaner kiln.

Ware that is to be "china" fired after being decorated with overglaze colors must never be placed in the


M O S A I C FREE COLOR CATALOG Wri t e today for de ta i l s f rom D I R E C T I M P O R T E R . Discover why larger-size sheets of I t a l i an ceramic cost no more. Fu l l ware - house stocks on 97 shades of ceramic , glass , and porce la in mosaic plus B y z a n t i n e smal t i .

INTERNATIONAL CRAFTS, INC. Dept. NB., 325 W. Huron, Chicago 10, I lL

CERAMIC STUDIO WORKSHOP 8027 Frankford Ave., Philadelphia 36, Pa. Register for Isabel Podeszwa Classes Distributors of: Petros, Creek-Turn, Bee Bosch & Mallory MOLDS: Creek -Tu rn , Symphony, Reward & Mayco COLORS; Norman KILNS, Paasche AIR BRUSH, La- Fleur STAMPS, Bergen BRUSHES.

M O S A I C S , C E R A M I C S C O P P E R E N A M E L I N G

C H A R L E S W E S T will conduct classes at our Studio October 29. Wr i t e for details.

Thurston Studio 3327 N. High St. Columbus 2, Ohio

GLAZES UNDERGLAZES SLIP NEWmFlesh colored slip, cone 06 Write for FREE literature. S P E C I A L I Z E D CERAMICS

200 W. THIRD ST. PLAINFIELD, N. J.

The Famous

KLOPFENSTEIN POTTER'S WHEEL Write for FREE information

H. B. KLOPFENSTEIN & SONS R.F,.D. ~;~ Dept. A ¢restline, O.hio

30 CERAMICS MONTHLY

Enameler's Column (Continued from Page 9)

rod, cut through it with a j ig saw in a s traight line. Place the j u m p ring through the eye you have formed at the end of your earring-to-be. Now you can hang it on an earr ing f inding which has an a t t achmen t for a dangle.

Make small shapes for enamel ing out of silver (you can use copper if you want to) and punch or drill a hole very near the top of each shape. Enamel the shapes, checking carefully before firing, to see that the dri l led holes are not choked up with enamel . You 'd be in a fine pickle if, af ter firing, you found the holes closed up with a solid piece of glass.

After the shapes are enameled, they can be hung on the wire loops with j u m p rings. Now you have a lovely earring. A lot of these earr ings a t tached to a chain of

SKETCH I: Enameled shapes are hung to make an attractive set of necklace

on wire loops with iump rings and earrings.

j u m p rings makes a very nice necklace. A n d the possibilities for ar ranging the enameled shapes on the chain are without end.

Sketch 2 shows another way to a t t ach enamel shapes. This also is a good method to use when making mobiles. "Fake a length of wire and curl two loops down, one loop up, and two loops down. Cut the wire and put a j u m p ring through the "up" loop. Take your wire and coil it to a small and tight spiral, as f lat as you can, and then shape the end into an eye for the j ump ring.

Wi th a very little solder (don ' t mess it u p ) , solder the f inding to the back of the spiral. Now a t tach the enamel shapes and you have a s tunning earring. You can make a charming necklace by making four connected links, without the "up" loop in the center, and jo ining them with a j ump ring.

Now, as I ment ioned before, there are many variations on this theme. You can have small enameled ornaments all the way a round the necklace, ending up with a hook-and-eye wire clasp (which you can easily make) ; or you can have the ornaments in the front only, a t t ached to metal chains you have made or bought. O r you may wish to fasten the necklace with r ibbon or cord. T h a t is up to you! Whatever me thod you choose, this type of wire-enamel jewelry will look qui te different f rom the usual enameled jewelry. But be sure to file all the wire ends smoothly and curl them up t ightly so they do not catch in kni t ted sweaters, lace and similar materials . •

SKETCH 2: A unique method of affaching enamel shapes to wire loops. This technique also is good when making mobiles.

NO MORE SEARCHING for those Missing Copies!

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YOU will have no problem finding last month's copy of "Ceramics Monthly" - - or earl ier issues you've received-- if they are neat ly tucked away in this handy binder. Like most CM subscribers, you will be referr ing to back issues for ideas and other valuable information time and time a g a i n I s o keep them handy in this handsome l ibrary binder. This durable cloth-bound binder is green in color and has "Ceramics Monthly" stamped in gold leaf on the front cover and backbone for immediate identification. A steel blade holds each copy in place. New issues are quickly and easily inserted. Each issue will remain neat and fresh protected by the high quality rigid cover of long- wearing material. Order Now!

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Order Form Ceramics Monthly 4175 N. High St., Columbus, Ohio

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I enclose $ - - Send remittance with order. Ohio residents add 3% Sales Tax.

OCTOBER, 1958 31

M O L D S NATIONWIDE MOLD SERVICE

Molds from leading mold makers Cata log Fifty Cents

• • •

DUNCAN PARAGON REWARD RETAIL WHOLESA LE

V I S I T OUR NEW LOCATION

MARYLAND CERAMIC HOUSE, LTD. 3 5 1 0 HARFORD RD. B A L T I M O R E l e , MD.

Decals • Molds • Tables • Trays for Tiles

~ ~ ~reasures Industrial Ave., Little Ferry, New Jersey

JEWELRY PARTS--GEM STONES Your best retail and wholesale source of materials, supplies and equipment far Jewelry Making, Gem Cutting, and En- ameling. We supply schools, hobbyists, retail and manufacturing jewelers. SEND FOR FREE CATALOG. We are celebrat- ing our 25th Anniversary.

GRIEGER'S INC. Dep't 48 16113 E. Walnut St., Pasadena, Cal i f ,

BEE BASCH DESIGNS offers many valuable Christmas Suggestions. Send 2Sc today for 2 valuable Catalogs.

70 Pine & First Sts., Englewood, Fla. {I block from junction of Rts. 775 & 776)

Model Ceramics MANUFACTURERS OF

Kilns Clay

Slip Write for Cafalog--Wholesale & Retail 764 N. MAIN ST. AKRON, O H I O

Reward Distribu÷or

Shopper (Continued /ram Page 7)

pieces of varying sizes. The manufacturer claims that they will readily withstand stoneware temperatures.

Speedy Spurs are available through local ceramic suppliers. Further information can be obtained from the manufacturer.

Cole Ceramic Laboratories, Gay- Way, Sharon, Conn.

Beam Balance The Ohaus triple beam balance is

a must for every ceramist engaged in compounding his own clay bodies and glazes where accurate weights are required. Capacity of this beam balance is 610 grams which, with the use of an attachment weight set, may be extended to 2610 grams.

For free literature and the name of nearest dealer, write Ohaus Scale Corp., 1050 Commerce Ave., Union, N./.

Mosaic Tile Nippers A must for every mosaicist, these

tile nippers are especially designed for cutting both glass and ceramic mosaic tile. The Diamalloy nippers, according to the manufacturer, have strong hardened rivets which give long wear and smooth action. The nippers are sold through leading ceramics and hobby supply distributors.

Diamond Tool and Horseshoe Co., Duluth, Minn.

Overglaze Notebook (Continued /ram Page 30)

kiln without some sort of stilts, bars or buttons beneath each piece. This ~s to insure complete ventilation and circulation of air around each piece to prevent breakage.

A stacking rack is useful for holding plates on edge- -a good way to fire flat pieces. The temperature cycle for firing china painting is so short that if the pieces do not have supports there is more likely to be breakage as the ware expands and con- tracts in the process of heating and cooling.

The kiln should be allowed to cool even much slower than it was heated up. No drafts should be created in the opening of the kiln. The ware should not be removed from the kiln until it is entirely cool as the pigments used for overglaze decoration are not entirely matured until cool.

C E R A M I C SUPPLIES GLAZES--COLORS-- STAINS --CLAYS

WRITE FOR YOUR FREE COPY 0F "CERAMIC SUPPLIES and INSTRUCTIONS"

TO THE T. H. GREENWOOD CO.

DEPT. C, NORTH H I L L S , PA,

DEALERS INgUIRIES INVITED

SEELEY'S CERAMIC SERVICE Let us help you wi th your ceramic needs.

We have a complete line of school supplies and equ ipment : slips, clays, colors, ki lns, wbeels, tools, brushes, sprayers , pens, and books. Free catalogues to schools and ceramic teachers : Ceramic-Molds Enamel ing .

7 ELM STREET, ONEONTA, NEW YORK

" ~ v v v v v ' ~ v v v v v v v v v v v v v v v v v v v i

CERAMICS Instruction--Supplies--Firlng Finished and Greenware. Distributor REWARD • DOBE

I GLO & WILLOUGHBY PRODUCTS. ¢ HAZEL HURLEY STUDIO

830 Warren Ave. Downers Grove, III. l' Call W O 8-0719 4 ~'aL~L.A'~ A,~--A,dL.A~I,~L,~,,dk,L aLA,dk,dk~l,,dL~L A , A A , L A ~

J EA N L E O N A R D C E R A M I C S 96-24 Corona Ave. Corona, L.I . , N. Y. 15 E. Har t sda le Ave. Har t sda le , N. Y.

Di s t r ibu to r of Glossmatic--Tru-Fyre---Drakcnfeld--Zirco

Duncan- -L & L Kilns-Kempcr TooLs Try our Magic Glaze Binder, makes a gal . 5Oc Mend-All , g reenware & bisque mender 4 oz. 50e. Al l i tems plus pos t age - -Ca ta log 25c.

~ ' What's Your Interest~ ALL-CRAFTS "SUPER-MART" CATALOG--102 Big Pages[

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I Dept. C, SAX BROS. , Inc. L 1111 N. 3rd St., Mihvaukee 3, Wis.

GLAZES and PORCELAIN exclusively manufactured by

Leslie Ceramics Supply Co. 13715 San Pablo Ave., San Pablo, Calif.

Inquiry Invited

Jewelry ho lds firmly in p lace and can be handled or moved without spilling enamels. Sizes elastic to m a n y shapes b y a d j u s t i n g s t i l t to f i t j e w e l r y before enameling. Size: 3~" .15; 1" .20; 11/4" .25; 13/£' .30. Trial Pack of 6 $1.00---Ideal for Trinket Kilns

Other sizes a v a i l a b l e Pat. Fend. Cash with o r d e r . . . No C.O.D.'s

KATJA TUCKER --20 Franklin St., E. Orange, N. J.

32 CERAMICS MONTHLY

p e o p l e , p l a c e s & t h i n g s

AMONG OUR AUTHORS:

"I suppose the r eade r s will wonder why I go t on s u c h a bal loon b inge ," says Rein- h o l d P. M a r x - hausen, p ro fes so r of a r t a t Concor- ~ia Teache r s Col- l e g e , S e w a r d , Neb. " I t j u s t seemed like fun. I even made l amp shades u s i n g the bal loon as a mold and t hen w r a p p i n g to i le t pape r and glue a round it. We have them all over our house ."

Mr. M a r x h a u s e n ha s con t r i bu t ed pre- vious a r t i c les to CM, inc lud ing one in Apr i l 1956, in which he in t roduced the idea of u s i n g bal loons as d r ape molds. Bal loons a re f u n f o r " M a r x , " bu t he ha s a ser ious side too.

"Un le s s one ha s some b ig object ive in life, one ends up doing all so r t s of l i t t le t h i n g s which rea l ly do no t a m o u n t to much in the to ta l p l an of th ings , " he says. " T h e r e a re f ew re- l igious a r t i s t s work ing today and the re is a t r e m e n d o u s field to be explored. I have dedicated myse l f to th i s work and it p r e sen t s a t r emendous cha l l enge , " cont inues Mr. M a r x h a u s e n , who is the son of a Minneso ta pas tor .

He ha s j u s t f inished 12 p laques fo r a college chapel . Execu ted in copper enamel and moun ted on w a l n u t p laques , the se t depicts 12 sa in ts . He also is work ing on a m u r a l based on the 23rd Psa lm fo r a n e l e m e n t a r y school, a f ive- foot f i gu re of Chr i s t in a l u m i n u m fo r a Minneso ta church, a l i fe-s ized f i g u r e of Chr i s t cal led " F e e d My L am bs , " fo r Concordia Teache r s College, and m a n y o ther re l ig ious pro jec t s f o r schools and churches.

suppl ies . E n t r i e s will be received f r o m 8 a.m. to 8 p.m. on Thursday , October 23.

The show will be open to the public f rom 10 a.m. to 8 p.m. on Sa tu rday , Oc tober 25; and f r o m 10 a.m. to 5 p.m. on Sunday, October 26.

N E W O F F I C E R S : The M a s s a c h u s e t t s Assoc ia t ion of Handcraf t Groups recen t ly announced i ts officers fo r 1958- 59. They a re : Cha i rman , Roy A. Mc- Quil lan, Medfie ld; 1st Vice Cha i rman , Mrs. Char l e s U. Hatch , Sp r ing f i eh i : 2nd Vice Cha i rman , A r t h u r W. Deiber t , Wes t on ; Sec re ta ry , Alice Mello, Ar - l i ng ton ; T reasu re r , Char l e s R. Johnson , L o n g m e a d o w ; and Bul le t in Edi to r , Mrs. Roy McQuil lan, Medfield.

C O N N E C T I C U T C R A F T S M E N : The A n n u a l P r e s t i g e Show of the Society of Connect icut Craf t smen was held recen t - ly a t the J e sup Gal le ry of the Publ ic L i b r a r y in Wes tpo r t , Conn. Of the 329 en t r i e s submi t t ed , the j u r y chose 269 pieces, r e p r e s e n t i n g the work of 83 c r a f t s m e n , fo r exhibi t ion.

F i r s t a w a r d s were g iven to A lbe r t Jacobson f o r h is 14" ce ramic sculp- tu re , "Cel l i s t , " ( i l l u s t r a t ed ) and to Louis Mendez fo r h is 18" tu reen . Honorab l e men t ions in ce ramics w e n t


T E X A S C E R A M I C S H O W : The S ix th Annua l Ceramic Show of the Ceramic Art Guild of Fo r t Wor th , Texas , will be held October 25-26 a t the Garden Cente r in the F o r t W o r t h Bo tan ic Gar - dens. The show is open to the public and the re is no cha rge f o r admiss ion .

Compet i t ive c lass i f ica t ions in the hobby show are as fol lows: Porce la in , c e r a m i c s , o r ig ina l s in clay, ch ina paint , g lass and work by ch i ldren u n d e r 12 years of age. E n t r i e s will be divided into hobby i s t and p rofess iona l c lass- i f icat ions. A profess ional , for pur - poses of the compet i t ion, is anyone who e i the r teaches ce ramics or ha s a license to sell ceramics or ce ramic

CELLIST, a 14" figure by Albert Jacobson of Wilton, Conn., took the first award for ceramic sculpture in the recent annual exhibition of the Society of Connecticut Craftsmen.

rNu" EXTRA RING $3.50 VALUE F R E E wi th purchase of a m a z i n g , easy-to- use test kiln for only $ 1 9 . 9 5 . . . an e x t r a test r ing, w o r t h $ 3 . 5 0 . F R E E test r ing affords expanded size, permits l a r g e r ob- jects in kiln. A p p r o v e d kiln saves t ime & money . . . ideal for medium pieces, j ewe lry , etc. Mail ad wi th check or money order for $ 1 9 . 9 5 . . . F R E E test r ing w i l l be included in shipment . Offer Limited.

S P E C I F I C A T I O N S : K a n t h a l A ] E l e m e n t - - B a b c o c k - W i l c o x F i r e B r i c k - - I n t e r i o r : 6 x 6 x 41/.., i n . - - 1 2 A m p C o n e 0 4 i n 1~ h o u r , C o n e 9 i n 1 h o u r .

United Artist Materials Co. ARTISTS, DRAFTING AND DISPLAY

PRODUCTS Opposite Museum of Modern Art

and Museum of Contemporary Crafts 32 West 53rd St., New York 19, N.Y.

MOSAICS Make your own tile tables and murals. W e carry everything

for mosaic work. Im-

ported I t a l i a n and French m o s a i c tiles

and tessarrae, b r a s s and wrought iron table

frames, legs, tools and

grout.

F R E E Color Chart

Instruction Sheets

Price List

ILLINI CERAMIC SERVICE I "Qualify Ceramic Supplies" I

439 N. Wells, Ch;cago 10, III. Phone MI 2-3361

OCTOBER, 1958 33

N E W ! the MOST complete catalog of ceramic supplies ever pub- [ished! Profuse ly i l l u s t r a t e d - - includes hundreds of i tems for bet ter pottery mak ing . Fea tures the newest clays, over 300 glazes, 37 electr ic kilns, po t te r ' s wheels, molds, tools, brushes, numerous access- ories. Includes photos of over 100 examples Send for your FREE of fine pot tery-ware as ideas, c o p y T O D A Y

ETTL STUDIOS, Inc. Studio 12 ETTL ART CENTER GLENVILLE, CONN.

W e now carry M O S A I C S as well as o full llne of CERAMICS supplies

Write for information

W I L L O U G H B Y STUDIO 407 E. Florence Inglewood 1, Calif.

CHRISTMAS TREE LIGHTS Imported Crystal GLASS 5 Colors Only 5¢ each

Full dealer and distributor discounts. Write for FREE SAMPLE TODAY.

National Artcraf t Supply Company 10604 EUCLID AVE. , CLEVELAND, OHIO

EASIER, BIGGER PROFITS! Make expens ive- looking ceramic pieces in ha l f the t ime wi th PIast ic Ar t s N E W D R A P E MOLDS and j u s t mode l ing clay! Choose f rom 40 molds. 50c and up. wi th ins t ruc t ions . Volume discounts to studios. F R E E l is t of Drape Molds wr i t e today! C a t a l o g - 2 5 c , D i s t r i b u t o r - H a r t ' s Super f i r e !

plastic arts STUDIOS 3403 S. Madison St. , Dept. C, Muncie, Ind.

M O L D S O N L Y New Retail Price List &

Catalog 50c. New Molds

PIEPER POTTERY

324 Passaic Ave., West Caldwell, N.J.

ART-CRAFT SUPPLIES, INC. Distributor for

Paragon--Duncan--Drakenfeld CraffooI--Bergen Brush--Hotpack Kilns

Perma-staln--Bee Basch and Lauer Molds General Ceramic Supplies

180 NW. 62nd St. Miami, Florida

:Ashtray Mold #136 . . . . . . 41/2 ', x 53/4"

$298 (In U.S.A. only)

Louislana--add 2% Sales Tax No C.O.D.'s

GLENDA RAE'S CERAMIC MOLD CO. 8430 APPLE ST. NEW ORLEANS 18, LA.

= = = = = = = = = = = = = = = = = = = = = = =

Ceram-Act iv i t ies (Continued [rom Page 33)

to Marjorie Walzer and Albert Jacob- son. Mr. Mcndez' tureen was f e a t u r e d as the September "CM Pic of the Month."

Award judges were Charles Burwell, American Craftsmen's Council; Alfred Chadbourne, artist; Tauno Kauppi, potter; and Guin Hall, women's tea- tures editor of the New York HERALD T R I B U N E .

NEW YORK STATE CERAMICS: Mrs. Carroll Geiger of Eggertsvil le, N. Y., recently captured the top award at the annual exhibit of the Western Chapter of the New York State Ceramic Deal- ers Association. Mrs. Geiger used a white floral pattern on her Delft blue coil-built vase.

Second place in the best-of-show competition went to Mrs. Mary Jane Sisson of the Town of Tonawanda, for a tall, modern bottle. Mrs. Raymond Larson of Jamestown, took third place with a luncheon plate and cup decorated in overglaze. The exhibit attracted more than 1,200 entries.

NEW OFFICERS: New officers recently were elected by the Mississippi Val- ley Ceramic Association. Mrs. Carl Schroeder was elected chairman; Mrs. Moss Ornelis, co-chairman; Mrs. Ray Gehbauer, secretary; and Mrs. B. C. Larson, treasurer.

Committees also were appointed to assist the Davenport (Iowa) Y.W.C.A. with its ceramic show on October 18- 19. They are as follows: Prizes--Mrs. Frank Howell, Mrs. L. F. Scherff, and Mrs. Earl Osterberg; Ribbons--Mrs. Philip Keller, and Mrs. Philip Hutchi- son; Jury committee--Mrs. Philip Jahn, Mrs. Richard Johnson and Harlan King; Tables--Mrs. Fred Clifton and Mrs. Richard Park.

WISCONSIN CRAFT FAIR: The 8th Annual Craftmen's Fair, held in con- junction with the Wisconsin State Fair, featured more ceramics than any other craft. Baskets, mats, books, glass, lea-

MERIT AWARD WINNERS, this group of stoneware and porcelain pieces by Frank Kulasiewicz of Milwaukee, took one of the top honors in the recent 8th Annual Crafts- men's Fair.

ther, textiles, wood, jewelry and metal as well as ceramics were eligible for the competition.

Out of the 16 awards made, six prizes were given to ceramics. Merit awards went to Abraham Cohn, Mil- waukee, for a group of brush decorated stoneware pieces; Frank Kulasiewiez, Milwaukee, for stoneware and porcelain with incised and carved designs; and Richard Schneider, Racine, for his sgraffito and wax-resist stoneware. Honorable mentions were awarded to Ralph E. Peotter, Baraboo; Robert J. Potter, Brookfield; and Robert Sehellin, Milwaukee.

MIDWEST POTTERS: Seventy eight pieces of clay and glass composed the recent annual exhibition of the Mid- west Potters and Sculptors which was held at the Evanston (Ill.) Art Center. Ranging from earthenware pottery to stoneware sculpture, the show consist- ed of a lively display of techniques, forms and glazes.

Margaret Stierlin, Zeke Zi~er and Julia Workman made up the jury of awards. Awards were won by Edna Arnow, Michael and Frances Higgins, Earl J. Hooks, Charlotte Aronson New- feld, Rita Sargen Simon and Rosemary Zwiek.

Membership in the organization is grouped into three classifications: As- sociate, artist and professional. Art-


Ceramic Tiled COCKTAIL TABLE AND MATCHING END TABLE Create your own mosaic tables. = New complete kits. Easy to as- semble, and you save! Imported mosaic ceramic tiles ( ~ " ) c o m e in !

on n y l o n webbing to fit table t( Assembled maple table and l egs pattern ( m u l t i - c o l o r e d t i les ) . Encl

not fully satisfied. Shipping charges c o , e c t . ~ e n o Tar Tree catmog sneet .

APSCO, Dept. M 10th St . , Baer Field, Fort Wayne , Indiana

34 CERAMICS MONTHLY

~ ~ OHIO, YOUNGSTOWN JANUARY 1-25

Eleventh Annual Ceramic and Sculpture Show, sponsored by the Butler Institute of American Art. Residents and former residents of Ohio eligible. Jury; $750

Send show announcements early--WHERE TO SHOW: three months ahead of entry date; WHERE TO GO: at least six weeks before opening.

WHERE TO SHOW *national competition

FLORIDA, DAYTONA BEACH NOVEMBER 13-27

Annual State Craft Show, sponsored by the Florida Craftsmen, at the Daytona Beach Art Center. Open to all craftsmen in Florida. All creative crafts, in- eluding sculpture, are eligible. Jury; prizes. Fees: Members, $2; non-members, $3. Deadlines: Entry forms, Oct. 30; work, Nov. 5. For additional information and entry blanks, write Elsa Freund, 422 N. Amelia Ave., Deland, Fla.

KANSAS, LAWRENCE OCTOBER 26-NovEMBER 15

Kansas Designer Craftsman Show at the Student Union, University of Kansas. Open to craftsmen who live in Kansas or Kansas City, Missouri; or who have lived in Kansas for one year. Ceramics, sculpture and jewelry included. Jury; $800 in prizes. Deadline for work: October 15. For additional information and entry blanks, write Marjorie Whit- ney, Department of Design, University of Kansas, Lawrence.

MASSACHUSETTS, ANDOVER APRIL 4-MAY 3

"Massachusetts Crafts of Today", a jur- ied exhibition to be held at the Addison Gallery of American Art. Residents of Massachusetts, teachers and students eligible. Massachusetts crafts for the 1959 Boston Arts Festival will be selected from this exhibition. Awards; museum purchase prize. Fee: Members of the Mas- sachusetts Association of H a n d c r a f t Groups, $1; non-members, $2. Deadline for work: March 12. Additional information may be obtained from the Addi- son Gallery.

NEW YORK, ALBANY FEBRUARY 27-MARCH 22

"Designer-Craftsmen, 1959", sponsored by the York State Craftsmen, will be held at the Albany Institute of History and Art. Jury; prizes. Fee: $1. Deadline for work: February 5. For additional information and entry blanks, write Miss Jan- et MacFarlane, York State Craftsmen, Chamber of Commerce, Ithaca, N.Y.

NEW YORK, NEW YORK NOVEMBER 21-DECEMBER 18

"kArt Directions Gallery annual competition. Ceramics eligible, Jury; prizes. Entry Fee: $3. Work due Nov. 1. For information and entry blanks, write the Gallery, 545 Avenue of the Americas, New York 11, N.Y.

OHIO, Y o u NGSTO~CVN NOVEMBER 2-DECEMBER 14

Autumn Annual for Area Artists, sponsored by the Butler Institute of Ameri- can Art, for artists living within 25 miles of Youngstown, Ohio. Ceramics, sculpture and crafts eligible. Jury; prizes. No entry fee. Deadline for entries: Oct. 26. For entry blanks, write the Butler Institute, 524 Wick Ave., Youngstown 2.

purchase prizes. Entry Fee: $2, Pack- ing Charge, $2. Deadline for entries Dec. 14. For additional information and entry blanks, write the Butler Institute of American Art, 524 Wick Ave.

TEXAS, SAN ANTONIO NOVEMBER 2-23

First Regional Exhibition of the Craft Guild of San Antonio, at the Witte Me- morial Museum. Open to craftsmen of Texas, Oklahoma, Louisiana, Arkansas and New Mexico. Ceramics, enamels, mosaics eligible. Jury. Fee: $3. Dead- line for entries: October 18. For entry blanks, write the Guild, Witte Memorial Museum, Brackenridge Park, San An- tonio 9, Texas.

WHERE TO GO CALIFORNIA, SAN FRANCISCO through OCTOBER 15

An exhibition of pottery by Bernard Leach at the San Francisco Museum.

DELAWARE, NEWARK OCTOBER 5-26

"Fulbright Designers," a Smithsonian In- stitution Traveling Exhibition, at the University of Delaware.

ILLINOIS, CARBONDALE OCTOBER 1-22

The "Sixth Miami National Ceramic Exhibition," a Smithsonian Institution Traveling Exhibition, at Southern Illi- nois University.

IOWA, DAVENPORT OCTOBER 18-19

Y.W.C.A. ceramic show at the Y.W.C.A.

LOUISIANA, N E w ORLEANS through OCTOBER 6

The 34th Annual Autumn Exhibition of the Art Association of New Orleans at the Isaac Delgado Museum of Art.

MICHIGAN, DETROIT through OCTOBER 26

The 1958 Exhibition for Michigan Ar- tist-Craftsman at the Detroit Institute of Arts. Includes the entire field of decorative arts and crafts.

NEW HAMPSHIRE, MANCHESTER t h r o u g h NOVEMBER 3

Early Chinese Porcelain from the Collec- tion of Eugene Bernat at the Currier Gallery of Art.

NEW YORK, OSWEGO OCTOBER 5-26

"American Craftsmen, 1957," a Smith- sonian Institution Traveling Exhibition, at the State University of New York Teachers College.

NEW YORK, SYRACUSE OCTOBER 26-DECEMBER 7

International Invitational Ceramic Ex- hibition at the Syracuse Museum of Fine Arts. Sponsored by the Syracuse Mu- seum, Syracuse China Corp., and the Ferro Corp. of Cleveland, Ohio.

WISCONSIN, MILWAUKEE OCTOBER 30-DECEMBER 14

The 38th Annual Exhibition of Wiscon- sin Crafts, sponsored jointly by the Mil- waukee Art Center and the Wisconsin Designer-Craftsmen, at the Milwaukee Art Center.

CLAYS

GLAZES

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C E R A M I C S O R E N A M E L I N G

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for over 400 original Ludwig Schmid Models in stock, new items added continually.

Complete catalogue and price llst, with additional sheet for dealers, studios, and schools. $1.00, refunded with first order

OCTOBER, 1958 35

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SPECIAL KIT of GJasfire Colors $ 5 0 0 12 Beautiful Colors, 2 Medias • Plus 50c Ps tg . , Handl ing , In Cal. 4 % Sales Tax

GLASS PAINTING MANUAL No. 1, by Ruth O'Connor.. Detailed instructions on painting and firing of glass. 9 big chapters. 9 full pages of attractive paflerns . . . . $1.00

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COLUMBUS. OHIO Greenware - - Sllp - - Glazes -- Underglazes Sub-Distributor: American Beauty Glazes Dealer: Ez-Flo and Galaxy glazes; Fiesta Mi-glaze and Wrought Iron Stains; Tru- Fyre Underglazes Custom Firing (porcelain and ceramic) Instructions in Glazing, Underglazing. Hand Building. No Cat~ulpg.

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P A J E C E R A M I C S Wholesale ~ Retail

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2901 ~ 16 St. Maline, III.

Buy BUELL KILN KITS ~ a n d b u i l d y o u r o w n , a t l ow cos t . E a s i l y a s s e m - b l e d at home. Safe, ef- ficient, low operating 'est. Plugs into any I10v d o u b l e outlet. Wr i r e for literature and "Questions & An- swers on Kiln Build-

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The following back issues of Ceramics Monthly are still available at sixty cents per copy (Ohio residents add 3% sales tax). We pay postage.

1953 July, August, October, December

1954 March, July, August, September, No- vember, December

1955 May, July, August, October. November, December

1956 May, June, July, August, October. December

1957 April, May, June, July, August, Sep- tember, October, December.

1958 February, Apri l , May, June, September Please send remittance (check or money order) with list of back issues desired.

CERAMICS MONTHLY 4175 N. High St. Columbus, Ohio

Ceram-Activities (Continued from Page 34)

i s t m e m b e r s h i p is aeh ieved by a s y s t e m of j u r y i n g and eva lua t ion r epo r t s by p ro fess iona l m e m b e r s of the group. To achieve p ro fe s s iona l s t a tu s , a m e m b e r m u s t have exh ib i t ed in one of the ma- j o r n a t i o n a l shows.

N E W YORK S O C I E T I E S M E R G E : The New York Socie ty of Ceramic A r t s and the New York Socie ty of Cra f t s - m en r ecen t l y comple ted a me rge r . The new n a m e fo r the un i t ed o rgan iza t ion is the A r t i s t C r a f t s m e n of New York.

New p r e s i d e n t of the o r g a n i z a t i o n is Ju s t Lunning , gene ra l m a n a g e r of Georg Jensen , Inc. and F r e d e r i k Lun- n ing , Inc. O t h e r of f icers a re Robe r t a l ,eber, B e r n a r d F ischer , Doro thy Je rv i s , Suzanne P u s h m a n , and Mildred Dow- ney.

OHIO H O B B Y S H O W : The Wes t Shore Mud Hens of Cleveland, Ohio will pre- sen t t h e i r T h i r d A n n u a l H o b b y S h o w ,

N o v e m b e r 1-2, in the aud i to r ium of the Avon E l e m e n t a r y School on Det- ro i t Road, Avon, Ohio. F u r t h e r info- m a t i o n m a y be ob ta ined f r o m the pub- l ic i ty c h a i r m a n , Mrs. M a r y Wil l iams~n, 22625 Wes twood Ave., F a i r v i e w Park , Ohio.

Copper Wire (Continued /rein Page 28)

i shed piece. A t c o n e 04, a s m o o t h e r t e x t u r e is d e v e l o p e d d u e to the m e l t - ing a n d f u s i n g of t he w i r e w i t h the glaze. A t c o n e 03-02 , a ve ry in te res t - ing c rys ta l l ine t e x t u r e deve lops .

A t h i g h e r t e m p e r a t u r e s , of course , t h e r e is c o n s i d e r a b l e f l o w i n g of t he c o p p e r a n d glaze. I n al l cases, t he r e su l t i ng co lo r wil l be bas ica l ly g reen , w i t h a v a r i a t i o n f r o m l igh t g r e e n to a l m o s t b lack . O f course , o t h e r g laze b a s e s wil l p r o d u c e some d i f fe rences . O n l y by e x p e r i m e n t i n g in y o u r o w n k i ln wil l you b e ab l e to p r o d u c e resul ts w h i c h will p lease you.

Y o u a lso c a n p r o d u c e n u m e r o u s designs b y b i n d i n g t he p o t in i r r e g u l a r p a t t e r n s . Al l t he o t h e r po t s i l l u s t r a t ed we re d o n e in th is m a n n e r . H o w e v e r you b i n d t h e po t , r e m e m b e r a lways to f i t t h e w i r e closely to t he c lay su r f ace to o b t a i n t h e des i r ed effect .

I f you w i sh to e x p e r i m e n t f u r t h e r to d i s c o v e r o t h e r i n t e r e s t i n g effects , t ry d u s t i n g c o p p e r f i l ings o n the glazed s u r f a c e w h i l e t he glaze is still wet . E x p e r i m e n t a t i o n like th is soon wil l b r i n g g r a t i f y i n g resu l t s in b o t h co lor a n d t e x t u r e . •

October 1958 American Art Clay Co . . . . . . . . . . . 2 APSCO . . . . . . . . . . . . . . . . . . . . . . . . 34 A r t -C ra f t Supplies . . . . . . . . . . . . . . . . . 34

B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . 10 Basch, Bee, Designs . . . . . . . . . . . . . . . . 32 Bergen Arts & Crafts . . . . . . . . . . 28 Bergen Brush Supplies . . . . . . . . . . . . 13 Buell Kilns . . . . . . . . . . . . . . . . . . . . . . . . 36 Buffalo Ceramic Supply Center . . . . . . . 28

Campbel l , G i lmour . . . . . . . . . . . . . . . . . 3S Cederborg, Nils, Associates . . . . . . . . 7 Cerami Center . . . . . . . . . . . . . . . . . . . . 13 Ceramichrome . . . . . . . . . . . . . . . Cover 2 Cerami Corner . . . . . . . . . . . . . . . . . . . . . 2 Ceramic Studio Workshop . . . . . . . . 30 Cole Laborator ies . . . . . . . . . . . . . . . . . 28 Craf tools, Ino . . . . . . . . . . . . . . . . . . . 29 C ra f t Students League . . . . . . . . . . . . . . 28 Creek-Turn Pottery . . . . . . . . . . . . . . 2

Diamond Tool and Horseshoe Co . . . . 7 Do-all, Inc . . . . . . . . . . . . . . . . . . . . . . 12 Duncan Ceramic Products . . . . . . . 6

Ettl Studios . . . . . . . . . . . . . . . . . . 34

Francoise Ceramics . . . . . . . . . . . . . . 28

Gare Ceramic Supply Co . . . . . . . . . 12 Gerbig, Lucille, Ceramics . . . . . . . . . . 10 Glasfire Color Co . . . . . . . . . . . . . . . . . 36 Gra-Zle Ceramics . . . . . . . . . . . . . . . . 36 Greenwood, T.H., Co . . . . . . . . . . . . . . . 32 Grleger's, Ino . . . . . . . . . . . . . . . . . . . . . 32 Grabs, Mary, Decals . . . . . . . . . . . . . . 28

Ho l land Molds . . . . . . . . . . . . . . . . . . . . 6 House of Ceramics . . . . . . . . . . . . . . . . . 1 Hurley, Hazel, Studio . . . . . . . . . . . . . . . 32

Il l ini Ceramic Service . . . . . . . . . . . . . . 33 International Crafts, Inc . . . . . . . . . 30

J. M. Treasures . . . . . . . . . . . . . . . 32 Jo Art's Studio . . . . . . . . . . . . . . . 28 Kloplenstein Wheels . . . . . . . . . . . . . . . 30

L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . 5 Leonard, Jean, Ceramics . . . . . . . . . . 32 Leslie Ceramics Supply . . . . . . . . . . 32

Marx Brush Manufacturing Co . . . . . . 29 Mary l and Ceramic House . . . . . . . . . 32 Master Mechanic . . . . . . . . . . . . . . . . . . 13 Mayco Colors . . . . . . . . . . . . . . . . . . 4 Mode l Ceramics . . . . . . . . . . . . . . . . . 32

Na t i ona l A r t C ra f t Supply Co . . . . 34 Newton Potters Supply . . . . . . . . . 35 Norwest Novelty . . . . . . . . . . . . . . . . . . . 28

Ohaus Scale Co . . . . . . . . . . . . . . . . . . l 0

Pale Ceramics . . . . . . . . . . . 36 Pieper Pottery . . . . . . . . . . 34 Plastic Ar ts Studios . . . . . . . . . . . . . . . . 34

Rae, Glenda, Molds . . . . . . . . . . . 34 Reward . . . . . . . . . . . . . . . . . . . . . Cover 4 Roder Studio . . . . . . . . . . . . . . . . . 36

Sax Brothers . . . . . . . . . . . . . . . . . . . . . . . 32 Schmid, Ludwig, Molds . . . . . . . . . . . . . 3S Sculpture House . . . . . . . . . . . . . . . . . . . . 28 Seeley's Ceramic Service . . . . . . . . . . . . 32 Skul l & Son, Wheels . . . . . . . . . . . . . . . . 30 Soriano Ceramics . . . . . . . . . . . . . . 28 Special ized Ceramics . . . . . . . . . . 30

Tepping Studio Supply Co . . . . . . . . . 32 Thompson, Thomas C., Co . . . . . . 3 Thurston Studio . . . . . . . . . . . . . . . . 30 Trinity Ceramic Supply . . . . . . . . . . . . 30 Tucker, Katia . . . . . . . . . . . . . . . 32

Unique Kilns . . . . . . . . . . . . 30 United Artist Mater ia ls 33

Wi l l oughby Studio . . . . . . . . 34 Wolfe, Jack D., Co . . . . . . . . . . . 30

36 CERAMICS M O N T H L Y

64 pages of instruction

Full-size 81/2" x 11" format

Profusely illustrated

Step-by-step photos

a,,IAr from your dealer-or

H A N D B O O K S Approved and recommended by teachers everywhere. Used by hobby groups, schools, art and craft centers. Three-color covers; profusely illustrated step - by - step photo technique.

C o p p e r E n a m e l i n g Twenty-one of the articles on copper enameling by Jean

O'Hara and Jo Rebert, which have appeared in CERAMICS MONTHLY, have been combined in book form and carefully indexed. Proclaimed the best in basic instruction, this handbook includes basic fundamentals as well as illustrated how- to-do-its on jewelry. The publishers are proud to present this material under one cover as a service to teachers, hobbyists, and students. The step-by-step projects in this volume make it an excellent working handbook; the text and detailed index make it a valuable source of reference. $2.00

U n d e r g l a z e D e c o r a t i o n The sure-fire CERAMICS M O N T H L Y photo tech-

nique catches Marc Bellaire as he creates a startling variety of new designs before your eyes--teaching the ultimate in quality underglaze decorating. Thlrty-seven step-by-step design projects, 86 original motifs, 101 finished (glazed and fired) pieces and 286 lively illustrations in all. Marc BeIlaire personally guides you from the basic skills of underglazing to the final how-to instruction for specific designs. This handbook shows you how to create your own interesting and exciting designs by learning to recognize basic shapes. $3.00

CERAMICS MONTHLY Book Deparfmenf 4175 N. High St. Columbus,Ohio Please send me the lollowing CM HANDBOOKS:

_ _ c o p i e s of COPPER ENAMELING @ $2 o copy.

_ _ c o p i e s Of UNDERGLAZE DECORATION @ $3 a copy.

(CM pays postage)

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Address_

City_ Z n ~ S f a f e

Ohio Residents add 3% Sales Tax.

I enclose [ ] Check [] Money order

L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

T E A C H E R S . . .

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Reward glazes and colors fire at "standard temperatures" (Cone 06-04) in regular school and institution kilns. Available in 2 oz & 4 oz jars or economical pint, quart and gallon sizes. Write for prices and free literature.

We pay freight on orders for 8 gallons or more.

Documents

Ceramics Monthly - October 1958 - Ceramic Arts Network · • Latest Jewelry Catalog- INCREASING popularity of these jeweh-y fizld- ings makes this catalog important to you. It features