i!

.-Rf=- ~ , ~ E R

I

J

NO MORE SEARCHING for those missing copies/

~r ~ *

-k

-k

w h e n

"k

y o u u s e CM LIBRARY BINDER Des igned especial ly for CERAMICS M O N T H L Y this

handsome binder holds 12 issues . . . . . . . . . . only $3.50.

You will have no problem find-

ing last month 's copy of "Cer- amics Monthly" - - or earl ier

issues you've r ece ived- - i f t h e y

are neatly tucked a w a y in this handy binder. Like mos t CM

subscribers, you will be referr ing to back issues for ideas and other valuable information t ime and

Order F o r m Ceramics M o n t h l y ~:-:~I£~ 4175 N. High St., Co lumbus , Oh io

P lease send me . . . . . . b i n d e r ( s ) . W e P a y Pm~L~ge

N a m e

Addres s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ci ty . . . . . . . . . . . . . . . . . . Zn . . . . . . S t a t e

I enclose $ . . . . . . Send r e m i t t a n c e w i th o rde r . Ohio r e s iden t s add 3 % Sales Tax.

Looking for back issues of CM? See page 32 [er ..... ~ ! s t o f back issues still available.

time aga in- - so 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.

Get your binder now- - fo r greater reading pleasure and convenience.

USE THIS HANDY ORDER FORM

Order Now oay szso

The ines/ • . . Sales/

KILNS 012 ~?

U L APPROVED FOR YOUR PROTECTION

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

ILH feature-packed models from ch t"o choose . . . all qual- constructed . . . all popu- y priced. O n l y i n a DYNA- N will you find DYNA- • O W PORCELAIN ELE- NT HOLDERS . . . PILOT ~HT . . . 4 W A Y SWITCH • 2 PEEP HOLES . . . TOP ALITY CONSTRUCTION• y're good looking, and y're unconditionally guar- eed!

MODEL E 49 Chamber:

4" x 8V2" x 81/4"

$74.80 Plus $2.00

crating chg.

A New High Quality

ENAMELING KILN

Never before have there been so many features . . . so much quality built into a kiln at such a price. I t has a PYRO- METER for visual temperature reading, an I N P U T CONTROL SWITCH, G R A V I T Y DOOR - - COUNTER WEIGHTED, PILOT LIGHT, DYNA- G L O W PORCELAIN ELEMENT HOLD- ERS, and it's at tract ive . . . Plug i t in anywhere!

WRITE FOR LITERATURE

Electric Kilns

Manufacturing Co. Chester 11, Pa.

D E A L E R I N Q U I R I E S I N V I T E D

the DISPLAYS & DEMONSTRATIONS AT ALL THE SHOWS

N O W - T R Y CERAMICliROME's N E W G L A Z E S FOR F A B U L O U S E F F E C T S !

Brush on Glazes

Cone 0 6 ~ C o n e 6

461 Indian Summer 462 Tiger Eye 463 Golden Harvest 464 Green Moss Ar t 465 Silver Lake Blue 466 Chestnut Brown

467 Moonlight Grey 468 Midnight Lustre 481 Silverfone 482 Deep Purple 483 Old French Blue

4 oz. 65c

Made Especially for "Blobbing" on UNDERGLAZES--MATTSmSEMI-MATTS OR GLOSS

GLAZES to achieve INNUMERABLE EFFECTS

721 Snowflake White 726 Princess Orchid 722 Camelia Pink 727 Indian Turquoise 723 Primrose Yellow 728 Apple Green 724 Cinnamon Brown 729 Smoky Grey 725 Iron Bloc[" 730 Pacific Coral

4 oz. 80c

Also avai lablem 451 Blu White China Mat t Glaze 4 oz, •50; 921 Red Pepper Glaze 4 oz. 1.00; 922 Orange Pepper Glaze 4 oz. 1.00; 923 Yellow Pepper Glaze 4 oz. 1.00.

And of course~Always ask f o r TRANZ, DETAIL, REGULAR UNDERGLAZES AND CERAMI- CHROME ONE-FIRE BRUSH-ON GLAZES--PLUS NATION- ALLY KNOWN ITEMS SOLD BY CERAMICHROME--such as Sylvia's Designs, Houston Press Molds, Stewart Decals, Farina Products, 8" decorating Wheels, Kemper Tools, Virginia Lee Stencils. Wri te for free Literature.

See your nearest Ceramichrome Dealer

CERAMICHROME L a b o r a t o r i e s

2111W. SLAUSON • LOS ANGELES 47, • CALIF.

JUNE, T956 1

NEW NOVELTIES FOR COPPER BLANKS OR PORCELAIN DISCS (or Hand Made Pieces)

r . . . . . . . . . . . . . . . . . . .

SB 14 - - Silent Butler PB 12 - - Pill Box A private little ashtray for A handy gadge~ to mila~dy. Makes a beautiful dec- hold supply of vita- orated piece . . . . . . $1.50 EACH. rains, pills, e t c $1.25 takes 7/8" d lsc- -Ham. Gold EACH. only takes s/8" discDHam.

Gold only

i ,

! .

SC 10 - - Compact takes 7,/8" disc Only . . . . . . $1.50 EACH Hamilton Gold only.

LL 900--Pendant Ham. Gold or An- tique Copper $1.50 Antique Silver $1.85 takes 7/8" disc

These NEW NOVELTIES are perfect for your enameled copper or decorated porcelain blanksmiust "SNAP I N " ~ n o paste- -no cement. Discs are interchangeable. You'll want to see BERGEN'S complete catalog on "1-2-3 SNAP-IN JEWELRY", send for your free

Prices fo r Discs Copper- (domed) 5/8"-3c ea. 25c dz. 7/8 "-Sc ea. 40c dz.

Porcelaln-whlte, glazed 5/8" or 7/8"-8c ea. 75c dz.

Porceloln-blsque-5/8 " or 7/8" 4c eo. 40c dz.

O R D E R F R O M T H I S

CRAFTOOL" S ]

copy now!

FULL DEALER DISCOUNTS available on these items--write on your letter- head for prices.

9 GIANT CATALOG FOR COPPER ENAMELING & JEWELRY MAKING ONLY 25c Send for your copy today!

- - : m v w s , K v ~ ' w g ~ A ~ t I L ~ J I I A J , ~ ' A DEPT. CFF-173 BEECH $T.- HACKENSACK, N.J.

A D ~ N 0 P O S T A G E C H A R G E S ! M i n i m u m M a i l O r d e r $2.

S e e ( ~ rowing line of potter's wheels for every purpose!

No. 1010. . . $179.50

No. 4110 "~ KICK $120.00 (TREADLE) WHEEL Ruggedly constructed and easy to operate. Ideal for schools, therapy shops and studios.

Send for the NEW Complete Craftools Catalog

ABLE

EEL For schools or the ceramist who needs a top performing wheel at a down-to-earth price. No. 2 1 1 0 . . . $98.50

Especially designed for constant operation; particularly suited for classroom work.

No. 1128 . . . $189.50

~RAFTOOLS, INC. DEPT. CM, 401 BROADWAY, N.Y.C.

S. Paul Ward's 20th Year

If you want commercial results

use commercial glazes Sold through distributors only

California--Most major studios

San Diego County, Calif.--Conville Ceramics

Detroit, Mich.--Narwest Novelty

Portland, Ore.--Dobe Depot

Dallas, Texas--Norris Studio

Minneapolis, Minn.--House of Clay

Bradenton, Fla.--Toalecraff Studio

Provo, Utah--Margaret's Shop

St. Louis, Missouri--R. & B. Ceramic Studio

S. PAUL WARD, INC. "The Cera~ic Wholesaler of the West"

601 MISSION STREET

SOUTH PASADENA, CALIFORNIA Tels: SYcamore 9-2131 ~ PYramid 1-2SS2

2 CERAMICS MONTHLY

Volume 4, Number 6 JUNE • 1956

S0 cents per copy

i n t h i s i s s u e

Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

I t inerary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Suggestions from our Readers . . . . . . . . . . . . . . . . . . . . . . . 9

Show Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Donald Mavros' W a y with Pot tery by James Goltz . . . . . . 12

Enameling: 3-D Bracelets by Jo Rebert . . . . . . . . . . . . . . . . . 14

Clay Whistles by Robert E. Bussabarger . . . . . . . . . . . . . . . . 16

Pennsylvania Dutch Pottery, Part 2 by Marguerite Montgomery . . . . . . . . . . . . . . . . . . . . . . . 18

Big Pots from Litt le Kilns by F. Carlton Ball . . . . . . . . . . . . 21

C M Briefs: Fish Forms for Plaques . . . . . . . . . . . . . . . . . . 23

New Wedging Technique . . . . . . . . . . . . . . . . . 25

A Mold for Solid Casting by Dorothy Perkins . . . . . . . . . . . 24

Overglaze: Guide to Firing by Zena Hoist . . . . . . . . . . . . . 26

Answers to ~uestions conducted by Ken Smith . . . . . . . . . . 27

The Enamelers Column by Kathe Berl . . . . . . . . . . . . . . . . . . 30

Ceram-Act iv i t ies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Index to Advert isers . . . ' . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Edi to r Louis G. Farber

Business Ma na ge r Spencer L. D a v i s

Associate Ed i to r M a r y El l io t t

Edi tor ia l Associate Thomas Sellers

Ar t Director Rober t L. Creager

Advisors and Spec ia l Contr ibutors : Car l ton A t h e r t o n ; Kathe Be r l ; Edris Eckhard t ; J o h n B. Kenny ; Zena S. Hois t ; Ben Matney ; Dorothy P e r k i n s : Jo Rebe r t ; Kenne th E. S m i t h ; Madge T u m m i n s ; Vera Walkup.

Coxer by Robert L. Creager

Ceramics Monthly is publ ished each mon th at the Lawhead Press, Inc., Athens, Ohio, by Profess iona l Publ ica t ions , Inc. , S. L. Davis, Pres. and Treas. : L. G. Fa the r , V. Pres. ; P. S. Emery, Secy.

S U B S C R I P T I O N P R I C E in U .S .A . and Possess ions ; one year, $4; two years, $7; three years, $9. Canada and P a n Am. add 50 cents a year ; foreign, add $1 a year. Cur ren t issues, 50c; back 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 , subscr ip t ions , ed i tor ia l ) should be sent to the edi tor ia l offices at 4175 N. H i g h St., Columbus 14, Ohio. Entered as second-class m a t t e r a t the post office a t Athens , Ohio, as g ran ted under A u t h o r i t y of the Acts of March 3, 1879. Copyr ight 1956 by P r o f e s s i o n a l P a b l i c a t i e n J , Inc . A l l r i g h t s reserved .

"WHERE TO BUY RE- WARD PRODUCTS" LIST OF WHOLESALE SUPPLIERS

ALABAMA B I R M I N G H A M Ceramics by Olene 1828 P inson St.

ALASKA F A I R B A N K S The Mud Nest 1271/.z Lacey St.

ARKANSAS L I T T L E ROCK Al l i son Ceramic Studio 20 Arcade Bldg.

CALIFORNIA C A N O G A P A R K A m a l i a n n a Studios 20230 Saticoy Ave. D O W N E Y S tewar t s of Ca l i fo rn i a 12125 Lakewood Blvd. H A W T H O R N E S. L. Clu t te r 13112 Inglewood Ave. S A C R A M E N T O I ~ l l y s Studio 2120 28th St. S A N DIEGO Convi l le Ceramics 4566 30th St. S A N G A B R I E L Rays House of Ceramics 8605 E. Las Tunas Drive STOCKTON Adel le ' s Ceramic Studio 230 W. H a r d i n g Way V A L L E J O Lees Ceramic Supply 150 Lincoln H i g h w a y W A T S O N V I L L E Bella Vis ta Ceramics 1255 San Andreas Rd.

COLORADO L A K E W O O D Lakewood Po t t e ry 6955 W. Colfax

CONNECTICUT P O R T L A N D Sybil G a r v i n Ceramics 77 Main St. W E S T P O R T The Po t t e r ' s Wheel Pos t Road Wes tpor t -Sou thpor t L ine

FLORIDA CLEARWATER Sharer Ceramics 2101 Gul f to Bay Blvd. MIAMI Jadol Ar t s & Craf t s 8965 Biseayne Blvd.

GEORGIA ATLANTA P a t r i c i a Taekabery 3041 Bol l ing Way N. E.

IDAHO BOISE House of Whi tes 5702 F a i r v i e w

ILLINOIS CHICAGO I l l i n i Ceramic Service, Inc. 439 N. Wells D O W N E R S GROVE Hazel Hur ley Studio 4803 Pr ince Ave.

I OWA W A T E R L O O Ar t Cra f t Studio 1620 Commercial St.

KENTUCKY M O R E H E A D The Pot Shop 211 Second St.

LOUISIANA N E W O R L E A N S The Po t te r s Wheel 3519 Dhemecourt St.

MARYLAND B A L T I M O R E Mary land Ceramic House 2000 E. 30th St. T A K O M A P A R K McNors Ceramics 7056 Carrol l Ave.

MASSACH USETTS W O R C E S T E R L a u r a ' s Ceramics 695 A Main St. L Y N N Mary Mar t in Ceramics 501 Eas t e rn Ave.

MICHIGAN DETROIT Norwest Novel ty Co. 32480 Nor thwes t e rn H i g h w a y ( F a r m i n g t o n ) GRAND R A P I D S Tar t -Tan Ceramic Studio 962 E. Fu l ton St.

MINNESOTA M I N N E A P O L I S House of Clay 123 W. Lake ~t.

MISSOURI K A N S A S CITY 8 Midwest Ceramic Center 502 Southwest Blvd.

NEBRASKA L I N C O L N Davenpor t Ceramics 1556 S. 25th St.

NEW JERSEY CHEATHAM Creat ive Ar t Ceramic Studio 17 Bridge St. L I N W O O D Fo lka r t Pot te ry S tud io 1048 Shore Rd. O A K L Y N Ceramic Ar t Studio 172 Kendall Blvd.

NEW YORK B I N G H A M T O N Olevia Ceramics 152 Conkl in Ave. B U F F A L O 14 U n i v e r s i t y Ceramic Studio 3270 Main St. F R E E P O R T , L. I. W a t e r f r o n t She l l c ra f t Co. 74 Woodcleft Ave. H E R K I M E R Motor Ceramic Service Rte. 28, Middlevi l le Rd. SCOTIA Ra inv i l l e Ceramic Studio 19 Vine St.

OHIO AKRON" Model Ceramics, Inc. 772 N. Main St.

OREGON P O R T L A N D Dobe Depot 1025 S.E. Ash

PENNSYLVANIA H A R R I S B U R G Voi lmer ' s Ceramic Studio 1723 Pax ton St. P H I L A D E L P H I A Et to re ' s Ceramic Studio 1490 N. 52nd St. P I T T S B U R G H Hoover ' s Ceramics 1500 Evergreen Ave.

TENNESSEE MEMPHIS H a r r y ' s Ceramic Shop 2543 Broad St. N A S H V I L L E C r a f t s m a n s Supply Co. 1125-8th Ave.

TEXAS DALLAS Tr in i t y Ceramic Supply 100 Howell St.

UTAH S A L T L A K E CITY U t a h Ceramics 229 S. 5th St.

VIRGINIA R O A N O K E Di l l -Hawk Ceramics RFD ~:2, Box 436

WASHINGTON O L Y M P I A Kelsey Ceramics 507 S. Columbia S E A T T L E M a r j a x Ceramic Studio 8914 Auro ra

WISCONSIN MILWAUKEE Margo Pore. & Ceramics 2138 S. 25th St. LA CROSSE Rainbow Ceramic Studio 710 Denton St. N I A G A R A Dolly 's Ceramic Studio 124-4th St.

CANADA TORONTO Greater Toronto Ceramic Ctr . 167 Lake Shore Rd.

1985 Firestone Blvd., Los Angeles 1, Cal i f .

C E R A M I C

New Enameling Kiln A new, small, inexpensive enamel-

ing kiln has just been announced bv the L & L Mfg. Co., Upland, Chester,

Pa. According to the manufacturer , this new kiln will do all types of enameling, and it will uniformly fire any-sized piece which will fit into its 4 x 8 x 8" chamber.

The case is welded steel, and the manufacturer claims that the elements cannot be burned out due to over- firing. The kiln plugs into any electri- cal outlet and reaches enameling tem- peratures quickly.

The price is $25 with no charge for crating. For full details, write L & L.

Decals from Photos Slide-off decals in ceramic stain

made from your own photograph negatives are offered by Harold A. Battjes, Grand Rapids, Mich. Avail- able in black, brown, blue and green in true continuous tone (no dots/ , these decals can be fired on a glazed surface, enameled metal or glass.

For full information on prices, sizes. and other details, write directly to Battjes Photoceramic Decals, 1453 Lyon St., N.E., Grand Rapids, Mich.

China-Painting Booklet A new booklet giving practical in-

formation on firing china-painted pieces in an electric kiln has recently been released by the Maryland China Co. Suggestions on the type of auxil- iary equipment needed, how to use cones, etc., are included in the book- let, which is available at 10 cents. For your copy write to the Marvland China Company, t436 N. Gay St.. Baltimore, Md. Please mention" CM.

New Glazing Device A new tool designed especially for

the application of glaze to ceramic ware is being introduced by L. G. A l l e n - - D u n r o m a n Pottery, 245 S. 1st

PARAGON INDUSTRIES P. O. Box 10133

D A L L A S 7 , T E X A S

St., Montrose, Colo. Called a Glaze Lathe, it holds the piece to be glazed in a horizontal position. Gravity flow of the glaze applied to the surface of the revohing ware ~roduces a uni- form glaze covering, reducing pin- holes, hare spots, and other common

t ji . . . . . . . . . . . . . . . . . .

~ ~ , ~ : : ::

glaze defects, claims the manufactur- er. Excess glaze is retained in a pan placed under the ware.

The lathe acconnnodates ware up to 12" in length and width and can handle almost any shape, including figurines. Write directly to the comp- any for full details, mentioning CM.

INTRODUCING A Completely New All-Purpose

PARAGON KILN for all firing thru cone 8 THE MOST A D V A N C E D KILN EVER BUILT

MODERN STREAMLINED APPEARANCE TONGUE AND GROOVE C O N S T R U C T I O N

DIE FORMED WELDED STEEL CASE FAST E C O N O M I C A L FIRING

Specifications SIZE~2 cubic foot, 13" wide x 16s/8" deep x 16" high ELECTRICAL REQUIREMENTS--one, 3 wire grounded neutral, 230 volt,

single phase circuit. EQUIPMENT--two-4 way switches, pilot lights, cord and plug for electric

range outlet, pyrometer, 1 full shelf, two half shelves, 12 posts. MAXIMUM TEMPERATURE--2300 degrees F MAXIMUM POWER C O N S U M P T I O N - - 5 kilowatts PRICE--S390 FOB Dallas--shipping weight 350 Ibs

. . . . . . . k . . . . . . . . . . . . . . . . . .

FIRES TO CONE 8 POST AND SHELVES INCLUDED

I M M E D I A T E D E L I V E R Y -

E x t r a h e a v y l'~a n- t h a 1 e l e m e n t s in N o n - S a g d r o p l m d r e c e s s g r o o v e s

N O C R A T I N G

Model KF 2

C H A R G E

4 CERAMICS MONTHLY

0 WHITE FOAM

0 TURQUOISE FOAM

0 YELLOW FOAM

M A Y C O "FOAM" 6 New Art Glazes

Supplied in six appea l ing colors, these new glazes will give you an a t t r ac t ive

finish s imi lar to a smooth foam or a f ro s ty effect. They are different f rom vol-

canic type glazes and will ex tend and widen the scope of your ceramic decora-

tion. The bubble s t ruc tu re is except ional ly s t rong , durable and pract ical .

The d i r e c t i o n s f o r usincj

M A Y C O ' S F O A M a r e e a s y . . .

s imp ly a p p l y h e a v i l y t o

c j r eenwore o r b isque and

f i r e t o cone 06.

0 PINK FOAM

0 GREEN FOAM

0 BROWN FOAM

Ask your local dealer for Copper Cat jewelry -- cuff links, tie clips, tie slides, earrings, bracelets, necklaces, bar- rettes, buttons, pins, collar pins, rings, key chains and pill boxes.

C O P P E R P R E P - O Price 1 oz. $.50

Eliminates cleaning of copper prior to enamel- ing-acts as an adhesive for enamel.

Have MORE FUN with LESS WORK

when you COPPER ENAMEL

C O P P E R S C A L E - O F F price 2 ozs. $.45

4 ozs. $.65 Eliminates the mess and drudgery of removing fire scale from copper.

DEALER INQUIRIES INVITED

SALES OFFICE M A I N OFFICE 809 Main St. Railroad St. Evanston, III. Attleboro, Mass.

COPteR C~ITIn{.

IT'S N OTSECRET THE GREATEST OF ITS KIND

EVER PUBLISHED IS BEING MAILED GRATIS TO RECENT CUSTOMERS S0c TO OTHERS, DEDUCTIBLE FROM FIRST ORDER OF $5.00 OR MORE.

EVERY

FROM COVER TO COVER IT'S

A B I G 64 PAGES

JAM-PACKED FULL OF EVERY CONCEIVABLE KIND OF USEFUL

NAME-BRAND MERCHANDISE . . . and

ITEM IS CARRIED IN STOCK. WE GUARANTEE PROMPT DELIVERY

HOUSE of CERAMICS 3295 .Jackson Ave.

M E M P H I S 12, TENN.

JUNE, 19S6 5

They' re

Modern Trend GLAZES

Craters, Matts and Pattern Types Easy to Use Unusual Effects Send for Descriptive Literature and Prices

: z z ~ : : : . . . . . . . . . .

perpetual catalogue of all ceramic supplies S1.00

i Will0ughby Studio 407 E. Florence, Inglewood 1, Calif.: p h o n e : 0 R e g o n . . . . . . . . . . . . . . . . . 8 - 7 0 - ~ 7

S i m p l y A m a z i n g F o r G l a z i n g . . .

FREE--4 oz. baffle of JANE SNEAD glaze with each order.

Put the finishing touch of the ar t i san on your pet ceramics with the new Burgess Electric Sprayer . . . i ts the simple, thorough way to glaze; it beau- tifies your work. Long. fai thful service assured by the jeweled sapphire nozzle of this sprayer . . . pa t tern and volume regulated by one simple adjustment. which prevents waste, saves you t i m e and money. The l ightweight 'Burge~s' comes complete, no compressor required. For exactly the job you want . . . i t 's best to invest in a Burgess Electric Sprayer. Send check or M.D. todayt

D e a l e r i n q u i r i e s i n v i t e d

H O W TO DO IT! D e a r E d i t o r :

A u t h o r Bi l l W i l b a n k s sa id in y o u r A p r i l issue [ C e r a m - A c t i v i t i e s ] , " . . . A l l m y po ts a re w h e e l t h r o w n a n d I sel l a l l I c a n m a k e . I do n o t h a v e to c o m p r o m i s e on d e s i g n or qua l i t y . W h e n a c r a f t s m a n says he c a n ' t m a k e a l i v i n g a t his c r a f t in th i s d a y a n d age , I say he h a s n ' t t r i e d . . ."

O h h o w I w o u l d l ike to s p e a k w i t h th i s m a n !

I a m a p a r t - t l m e p o t t e r ; the o t h e r p a r t of m y t i m e is s p e n t in schoo l a n d on re- s e a r c h on the s a m e sub jec t • I d o n ' t fee l m y w o r k is i n f e r i o r b u t p e r h a p s m y m e t h - od of m a r k e t i n g is. I ' l l b e t a l o t of fo lks w o u l d a p p r e c i a t e a f ew g o o d a r t i c l e s on th i s . . .

MRS. J. BLATNEY S a n F r a n c i s c o , Ca l i f .

STILL GLOBE-TROTTING D e a r E d i t o r :

• . . I a m v e r y f o r t u n a t e to h a v e se- c u r e d a p o s i t i o n in the s t u d i o of J o h n She l l y w h o was the s u b j e c t of one of K. L. B o y n t o n ' s a r t i c l e s on p o t t e r y in B r i t a i n [ S e p t . ] . H e is a r e m a r k a b l e m a n - - a f ine c r a f t s m a n , a r t i s t a n d p o t t e r , a n d a f r i end ly , h e l p f u l a n d i n s p i r i n g t e a c h e r . . .

DAVID R o s s S o m e r s e t , E n g l a n d

• T he articles by Boynton have been keeping Reader Ross, and C M ' s circulation depar tmen t , on the m o v e / I n the fall of 1954 ["Let ters ," Feb., 1955] he wrote that the "Scand inav ia" articles p r o m p t e d him to wri te to S w e d e n in regard to post- graduate work , and that he was accepted at the S l o j d f o r e n i n g e n s Skola , Goteborg. Some mon ths later he moved on to Gen- torte, Denmark . N o w England. Soon we will ask Wr i ter Boynton to consider a series on Nor th Amer ican pot ters so that we can get our Canadian globe-trot ter home again. Ed.

AID TO ENAMELERS! D e a r E d i t o r :

C M has b e e n a w o n d e r f u l h e l p to me. Y o u r a r t i c l e s on e n a m e l i n g a r e p a r - t i c u l a r l y g o o d - - s o c l e a r a n d conc i se a n d easy to fo l low. T h e y h a v e f i l led a n e e d for th is t ype of i n f o r m a t i o n . D o k e e p t h e m c o m i n g .

MRS. JOHN G. FULDNER L a k e W o r t h , F la .

• A n d now they are available in book [orm/ See back cover [or de ta i l s . - -Ed .

WHAT THEY'RE SAYING D e a r E d i t o r :

• . . I n t he b e g i n n i n g C M was on a p r o f e s s i o n a l level• I h a d o c c a s i o n r e c e n t l y to go b a c k a f ew years a n d i t m a d e m e a n g r y w h e n I r e a l i z e d w h a t y o u w e r e a n d h o w m i s e r a b l y t u m b l e d u p y o u a re g e t t i n g to be.

I fee l i t is m o r a l l y w r o n g to te l l p e o p l e h o w to do b a d th ings . I n the F e b r u a r y issue was a c o l u m n on h o w to m a k e a w e d g i n g b o a r d o u t of a m i l k b o x a n d t h e n c o v e r i t w i t h c a n v a s to k e e p t he c h i p p e d p l a s t e r o u t of t he c lay . I t is so v e r y e a s y to b u i l d a b o a r d right, o u t of g o o d p o t t e r ' s p l a s t e r . . . w h i c h w o n ' t ch ip . T e l l y o u r r e a d e r s h o w the r i g h t w a y !

A n d the n e c k l a c e o u t of o ld cones . . . t r a s h . . .

T h e r e a re m a n y g o o d p o t t e r s in th i s

c o u n t r y t h a t d e s p e r a t e l y n e e d a m a g a z i n e s u c h as C M s t a r t e d o u t to be . . . T h e hobby i s t s wi l l t ag a l o n g - - a n d be h e l p e d because you are g i v i n g t h e m m o r e t h a n t h e y n e e d ; b u t n o b o d y is h e l p e d by these a m a t e u r i s h b i t s of i n f o r m a t i o n .

Also in F e b r u a r y was a b r i l l i a n t r e p o r t on D a v i d W e l n r i b ' s w o r k [by O p p i U n t r a c h t ] . T h i s k i n d of r e p o r t i n g he lps us a l l . . . [Get y o u r a r t i c les ] f r o m those w h o are c a p a b l e of h e l p i n g o the r s g r o w a n d deve lop . O r else s top t a n t a l i z i n g us w i t h a r t i c l e s l ike [ U n t r a c h t ' s ] a n d s t ick to the h o b b y s tuff so we c a n s top expec t - i ng b e t t e r f r o m you!

~"N'ANCY WICKI-IAM BOYD W o o d s t o c k . V e r m o n t

• The editors do not want the hobbyists (and teachers) to feel they are merely tagalongs. (Canvas-covered, plaster wedg- ing boards are r e c o m m e n d e d by many reputable, professional pot ters and teach- e r s . ) - -Ed .

D e a r E d i t o r : F e b r u a r y was j a c k p o t m o n t h w i t h m e

as fa r as C M is c o n c e r n e d . I a m a hobby- ist , s lowly a d d i n g to a b a s e m e n t w o r k - shop , a n d seve ra l a r t i c l e s w e r e of ve ry m u c h i n t e r e s t to m e . . . " C o m b u s t i b l e G r o g , " " I n d o o r F o u n t a i n , " " W e i n r i b ' s T i l e s , " " W e d g i n g B o a r d " . . . K e e p u p the good work .

M R S . L . B . ALLORD M a d i s o n , Wis .

D e a r E d i t o r : P lease do n o t go " p r o f e s s i o n a l " on us.

R e m e m b e r , the m a j o r i t y of y o u r sub- sc r ibe rs a re " p o o r l i t t l e l a m b s " of the n o v i c e class, s e e k i n g i n f o r m a t i o n f rom the e x p e r t s - - a n d n o t c h e m i s t s . . . L e t us h a v e m o r e h e l p in p I a i n Eng l i sh .

M. G. FRAINE R o s l i n d a l e , Mass .

D e a r E d i t o r : . . . N o t [ r enewing] was an ove r s igh t .

As a c h a r t e r s u b s c r i b e r I c e r t a i n l y d o n ' t w a n t to miss an issue. T h e y h a v e al l b e e n i n t e r e s t i n g a n d f r e q u e n t l y spec i f ica l ly he lp - f u l - t h e m a g a z i n e we m o s t t h o r o u g h l y enjoy.

.lANE, S. GORAY K e n o s h a , Wis .

D e a r E d i t o r s : [ H o w a b o u t a r t i c l e s on] d e s i g n ; p o t t e r y

c h e m i s t r y ; g l azes ; k i lns a n d k i ln o p e r a - t i o n ; t e c h n i c a l k n o w h o w . Please! H e l p ra ise the s igh t s of the hobbyis t . No m o r e d - - n ro sebuds !

JEAN JENKINS S h e r m a n Oaks , Cal .

D e a r E d i t o r : I a m n o t g o i n g to r e n e w m y subscr ip -

t i on to C M b e c a u s e I feel i t has d r o p p e d to a r a t h e r s e c o n d - r a t e c e r a m i c s m a g a z i n e .

I was q u i t e e x c i t e d a n d p leased w h e n the m a g a z i n e first c a m e out, b u t i t has k e p t g e t t i n g wor se th is p a s t yea r u n t i l I no l o n g e r w a n t it.

W h e n you s t a r t s h o w i n g h o w to m a k e f l o w e r s - - t h a t is a b o u t the l as t s t raw. T h e r e a re o t h e r c e r a m i c m a g a z i n e s t h a t do t ha t , a n d b e t t e r ! T h e r e are a few of us t h a t feel t h a t p e r h a p s those are no t " g o o d c e r a m i c s . " I a m ve ry sorry to see you do th is as the f ield is in need of a g o o d m a g a z i n e . I t h i n k - - w h y no t pub l i sh i t less o f t en?

ROBERT G. YARYAN, CI-IAIR/~IAN A r t D e p a r t m e n t

M i d w e s t e r n U n i v e r s i t y W i c h i t a Fal ls , T e x a s

D e a r E d i t o r : T h e m a g a z i n e is a b o u t per fec t and so

v e r y v a l u a b l e to m e as a co l lege teacher . HELEN D. BEDFORD

S o u t h e a s t Mis sou r i S ta te Co l l ege C a p e G i r a r d e a u , Mo.

CERAMICS MONTHLY

PC. 1. N~w Yea r ' s - -Masque rades , etc. PC,2. Engagemen t A n n o u n c e m e n l ~ V a l e n t ; n e - - A n n i v e r s a r i e s .

PC, S. Holds flowerJ, candles, nuts• All occasions,

Molds to make the place cards you've always looked /or. Beautiful Duncan styling and design for all party occasions. Bril l iant ceramic decor a~tds color and beauty [o your party t~ble. W o n ' t knock over. Special matt glaze for name panel lees t'ou ' write in ink or pencil. Simply wipe off when through and re-use forever. Magnificent-.de(ail from precise plaster , , . ~ , , ~ molds . . . casts them for pennies each. Be the first to make &,rio these N E W , O R I G I N A L Place Cards . . . ask iuday at ),our Distr ibutor or Dealer or write direct.

PC. 3. All ISwan will I

PC. 9, All Occasions.

PC. 7. A l l Occas,ons

Mold, 2 oz. Special Mat t glaze, and Complete Inst.

"~ For P.P. in U.S.A. add 60c for a n e - - 4 0 c for ea. extra. In Calif. 40c for one and 20c for ea. extra. In Calif. add 3 % Sales tax.

PC. 13. Rebecca

PC. IS . A m a r a n t h

)tC 8 Emblem Decals included with PC. I I . ~ V F W A u x i l i a r y

. . . . mold.

PC. 14. Eastern Star Pc. 18. 1~" Job's Daughte rs

D U N C A N

PC. 6. W e d d m 9 A n n c m t s = N e w Year's Engagement and Anniversories.

Pc, t6, White Shr ine

C E R A M I C P R O D U C T S , Inca 4030-J I

PC. 19. ~ R a i n b o w Gir ls

N. Blackstone, Fresno, Calif•

Free Form Designed Ash Trays

Ideal for young moderns! This original and New mold created by Holland craftsmen is available in two sizes. H-643 is 101/2" long and 8" wide with 4 cigarette rests; H-642 is 71/2" long by 61/4" wide and has 3 rests. Why not order today!

Look for the Dutch Kids, our .~o?~ ~ reg;sferecl Trade Mark, your assur- an'ce of a genuine world famous Hol- land Mold~

Ask for FREE c a t a l o g !

P O T T E R ' S W H E E L

• TRAY THREE- - COATS OF V ITRE- OUS PORCELAIN ENAMEL- -WATER TIGHT - - EASY TO CLEAN - - SHELF AT REAR.

• HEAD - - TWELVE INCH - - RE- INFORCED. CAST A L U M ] N U M THROWING HEAD - - REMOVABLE DRIV ING KEY.

• BEAT - - ROOMY - - CONTOURED FOR COMFORT - - LEATHER COV- ERED-ADJUSTABLE FOR HEIGHT.

• SHAFT- -ONE P IECEmHYDRAUL -

]CALLY FORMED STEEL. ONE Weight 250 pounds--Prlce FOB I N C H D I A M E T E R - - M A C H I N E T O L E R A N C E T O P L U S O R M I N U S R i v e r Rogue, Michigan $]79.50-- • oo2. Crating charge $8.50.

• F R A M E - - A L L S T E E L - - E L E C - P E N S I O N - - O T H E R B E A R I N G S T R I C A L L Y W E L D E D C O N S T R U C T - A L L O [ L I T E .

T I O N . • F I N I S H - - T H E T R A Y B R I L L I A N T • B E A R I N G S - - S H A F T I N S E L F Y E L L O W - - T H E F R A M E ] N A T -

A L I G N I N G B A L L B E A R I N G S U S - T R A C T I V E M A T B L A C K .

THE M O M E N T you si t a t the new Foster Po t t e r ' s Whee l - -yon get the fee l ing t ha t now, fo r the first t ime, you did not have to c o m p r o m i s e - - you know you are work ing w i th the f inest tool a pot tery c r a f t s m a n can have a complement to the best work of the serious a r t i s t - - e x p e r t aid for the novice, a m a t e u r and s tudent .

Your un ique s i t t i n g pos i t ion a t the Fos te r Wheel pe rmi t s you to work in an equ i l i b r an t pos ture t ha t is relaxed, res t fu l and al lows the u tmos t freedom of the hands and arms.

The rugged mass ive cons t ruc t ion of the Foster Wheel is far super ior to the heavies t demands of cons t an t wear and use. I t alone meets al l s t anda rds of both a r t i s t and engineer .

r a v i n c e r a m i c s 7456 Fenton • Dearborn, Mich. • Phone Logan 3,2906

JUNE, 1956 7

Send show announcements ear ly- -Where to Show: fhree months ahead of en~'ry da~'e; Where to Go: at least six weo!:~ before opening.

WHERE TO S H O W ~¢national competition

*MAINE, Five Islands Aug. 24-27

Five Islands Community Club Annual Art Show. Open to all artists. Mediums include ceramics. Fee. $1. Entry cards due Aug. 5; work, Aug. 15. For details write Dr. Nathaniel J. Hasenfus at Five Islands.

~I'NEw YORK, SYRACUSE Nov. 4-Dec. 2

19th Ceramic National (2nd Biennial) at Syracuse Museum of Fine Arts. Open to potters, sculptors, enamelists, archi- tects. Prizes $3,200. Fee, $3. Regional jury centers: work due Sept. 6-8 at School of Boston Museum of Fine Arts: Cleveland Museum of Art; University of Georgia, Athens ; San Francisco Museum of Art; Royal Ontario Museum, Toronto; Syracuse Museum of Fine Arts: work due Aug. 30-Sept. 2 at Los Angeles County Art Institute. For details, write the Syracuse Museum.

WASHINGTON, D. C. Aug. 23-Sept. 21

Second Biennial Exhibition of Creative Crafts at National Collection of Fine

Arts. Smithsonian Institution. ReKdents of District, Maryland and Virginia eli- gible. Jury and awards. Fee. $2. Work due Aug. 10. Write Mrs. Elizabeth L. Fast. Sleepy Hollow Rd.. Falls Church, Va.

WHERE TO GO

CALIFORNIA, S a c r a m e n t o through July 1

Kingsley Art Club 31st Annual Exhibi- tion at E. B. Crocker Art Gallery, 216 O St. Includes crafts.

CONNECTICUT, N o r w a l k June 8-july 8

Annual New England Exhibition includ- ing ceramic sculpture - - at Silvermine Guild of Artists' gallery.

ILLINOIS, Chicago through June 14

Design in S c a n d i n a v i a - over 700 mass- produced p i e c e s - - a t Chicago Art Insti- tute.

KENTUCKY', Louisvi l le June 15-july 15

California D e s i g n e d - - h o m e furnishings and accessories including ceramics - - at J. B. Speed Art Museum.

MASSACHUSETTS, Andover June 5-26

American Jewelry and Related Objects (contemporary) at Addison Gallery of American Art. Phillips Academy.

MASSACHUSETTS, W o r c e s t e r June 4-29

New Hampshire craftsmen's show, at the Craft Center of Worcester.

NEW HAMPSHIRE, Gi l fo rd July 31-August 4

Annual Craftsman's Fair. sponsored by League of New Hampshire Arts and Crafts. at Belknap Recreation Area; daily demonstrations.

NEW YORK, I t h a c a August 23-25

York State Craft Fair at Ithaca College. Films, demonstrations, exhibits.

NORTH CAROLINA, Ashevi l le July 16-20

Nine Annual Craftsman's Fair of the Southern Highland Handicraft Guild, City Auditorium. Demonstrations.

OHIO, Akron through June l0

33rd Annual May Exhibition at Akron Art Institute; includes crafts.

OHIO, Cleveland through June 10

Annual May Show, at Cleveland Mus- eum of Art.

OREGON, P o r t l a n d through June 9

Annual Exhibition of Northwest Ceram- ics at Oregon Ceramic Studio.

PENNSYLVANIA, East Stroudsbtu'g July 26-29

Annual State Craft Fair of the Pennsyl- vania Guild of Craftsmen at East Strouds- burg State Teachers College.

TENNESSEE, Chattanooga through June 17

New England Crafts at George Thomas Hunter Gallery of Art.

M O D E L t¢,et gee t(il,,

Ne w 2 4 0 0 o F. Hi-Fire Kilns

These kilns are designed for the ceramic ar t i s t to fire sculpture and stoneware items. No longer is it necessary to have a gas kiln to fire stoneware. The 2400 ° elements and 2600 ° refractories backed by high tempera ture block insulation give dependable service. Prices quoted on special sizes.

MODEL HI F I R E S T O N E W A R E K I L N S - - T O P LOADING

I F i r i n g C h a m b e r M a x . [ I i Model , W i d t h W i d t h H e i g h t T e m p . V o l t s A m p s P r i c e

l l 3 S ] 11 x l l x 131/._, 133S I ] 3 % x 13J~ x 13% 155s ] 15 x 15 x 15

2400 ° I 220 I 15 I $162.00 2400 ° i 220 ] 20 l $204.00 2400 ° I 220 I 25 I $252.00

188S I 18 x 18 x 18 2400 ° I 220 I 30 I $385.00 '282S I 18 x 22~/, x 2'21/.2 2400 ° { 220 I 45 I $625.00 372S I 18 x 36 x 221/~ 2400 ° I 220 ] 60 { $995.00

model ceramics, inc. 7 7 0 N . M a i n S t r e e t , A k r o n , O h i o

8 CERAMICS MONTHLY

f rom our BANDING WHEEL IDEA

Here is a procedure I use when mode l ing plastic clay on a band ing wheel. I place a plastic bowl cover with the elastic edge over the w h e e l - - the elastic pul l ing the cover tight. T h e clay working is then done on top of the plastic. W h e n the work is comple ted , it is a simple ma t - ter to sllp the cover f rom the wheel and peel it f rom the bo t tom of the piece, elimi- n a t i n g the dange r of ma r r i ng the base.

--Christine Tracy Montrea l , C a n a d a

RECLAIM SCRAPS Put broken pieces and o ther

scrap clay, wet or dry, into a pail of water. Add scraps any- t ime - - over a period of months , if necessary until the pail is full.

Then . allow the water to evapora te unti l it leaves a heavy clay paste. Pour this out on a "ba t" made as follows: first, a layer of oi lcloth; then, a thick layer of newspaper , followed by a double thickness of cheesecloth. T h e cheese- cloth holds the clay, the paper takes the water out of the clay, and the oilcloth protects the floor or the table.

W h e n the excess water is gone, tie the cheesecloth into a bag and turn it over dai ly until the clay is stiff enough for w e d g i n g - - i n or out of the bag.

The newspaper for absorb- ing the water is a par t icular ly useful idea. You don ' t have to devote a good deal of space for s tor ing large plas ter bats and there is no mess to clean up. The paper is easily dis- posed of.

--Nola Matson Castro Valley, Calif.

NO SILICATE SCUM T h e m e a s u r i n g glass (grad-

uate) I used for sod ium sili- cate would always become en- crusted with the sod ium sili-

r e a d e r s cate crystals when it dried, regardless of how well I washed it. Now I keep the glass submerged in a ja r of wa te r at all t imes w h e n not in use. Th i s has solved the problem.

--Lewis Andersen Iowa Falls, Iowa

JEWELRY DISPLAY CARDS Ordina ry , blank, 3 x 5 in-

dex cards cu t in ha l f can make neat , inexpensive, jew- elry-display cards for bo th ceramic and enamel -on-cop- per pieces. Holes and slots sui table for m o u n t i n g cuff-

links, pins, tie clasps, etc., can be m a d e wi th a pape r p u n c h and pai r of scissors.

You can decorate or label the cards with the typewri ter if you wish, and you have economical bu t professional- looking items.

--Betty Bar[ord N . Y . , N . Y .

SCRAP FOR SHELVES I p u t m y scraps and odd

bits of all kinds of clay into a crock and store it unt i l I have a sizable quant i ty . T h e n , I add abou t one- th i rd grog and use this mix tu re to make posts and small shelves, which af ter firing prove to be excel lent space savers in the kiln. Being m a d e f rom scraps mos t of which would otherwise have been th rown away, they really can be con- s idered some t h i ng for no th - ing.

--Marjorie Shattuck Syracuse, N. Y.

(Please turn to Page 29)

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

CM pays $1 to $5 for each item used in this column. Send your bright ideas to Ceramics Monthly, 417S N. High St., Columbus 14, Ohio. Sorry, but we can't acknowledge or return unused items.

O. H O M M E L . . . I I

I MOST COMPLETE C E R A M I C SUPPLIER

With the use of HOMMEL Ceramic and pottery materials in art classrooms of to- day's modern schools, young artists can be assured of best results in their search for self-expression. Maintaining the first posi- tion in the industrial supply field, HOM- MEL always supplies the best at economi- cal prices.

UNDERGLAZE COLORS " GLAZE STAINS PREPARED GLAZES ENGOBE STAINS PREPARED CLAY BODIES OVERGLAZE COLORS GLASS COLORS GOLD-PLATINUM-LUSTRES

for glass a n d china

CHEMICALS, FRITS KILNS-a//types WOOD MODELING TOOLS TURNING TOOLS BRUSHES-tar decorating DECORATING WHEELS BRASS WIRE SIEVES ASBESTOS GLOVES & MITTENS UNDERGLAZE PENCILS & CRAYONS AIR BRUSHES SPRAY BOOTHS STANDARD PYROMETRIC CONES

FREE HOMMEL CATALOG

Write for your copy today. Profusely illustrated.

,,, O. HOMMEL CO. I PITTSBURGH 30, PA.

West Coast Warehouse, Laboratory & Office

4747 E. 49th Street, Los Angeles, Californi a

JUNEI 1956 9

Perfect for Use in Schools

* Reaches Enameling Tempera tures 0 u l c k l y e Sturdy, Simple Construct ion e Low-Cost , T roub le - f ree O p e r a t i o n

FREE TEXT ON ENAMELING by Thomas E. Thompson. Send for your copy of this 40 page illustrated text on metal enameling. Techniques - - fools - - equlpmenf - - types of enameling - - firing - - finishes, etc.

NEW Silver plated metal--no pre-cleaning--no for- marion of oxide scale--costs little more than copper.

N E W Complete line of Opalescent colors--beautiful effects--write [or sample.

Exc lu : [ ; : f ; l t ; ' ~ J : s : ~ , ' ; ~ f e ' design -- no exposed mechanism i!)f!:iii!ii!!::~iiii!iii{ : : : : : : : 2 : : : : ' : : : : . . . . . . . . . . . . . . . .

W h e t h e r ama teu r or sk i l led a r t i san . . . you ' l l find the smoo th motor ized :::::::::::::::::::::::::::::::':::::: ope ra t ion . . . ease of cont ro l in the BIG, al l-steel precis ion bu i l t :::::::::::::::::::::::::::: MASTER POTTER'S WHEEL enables you to originate beautiful, dis- :!:i i:!:i:i:i: t inc t ive po t t e ry excel l ing anythfflg you 've ever done before, iii::i::i::i:.i::iii:.{::~ Mass ive steel cons t ruc t ion comple te ly encloses mechan i sm to exclude clay iii::i!i::{iiiiii::ii:: and mois tu re . . . assures opera to r safety and provides v ibra t ion- f ree ::::::::::::2:::: pe r fo rmance . O t h e r fea tures o rd ina r i l y found on ly in expensive whee! : i~ii!iiii~iiii~:j~! mc lude : p re - lub r i ca t ed b ronze bear ings for quie t , long service, con. {i):.i::!:.!i!:f~:: v e l ent a rm rests , ad jus tab le wedg ing wi re , large 18" t h r o w i n g table i::!)i!)::i::il!{i::i w i t h p l en ty of work ing space and a r emovab le wa te r cup. 10" t h r o w i n g i:i:i:!:i:i::.:?i:i head has joggles for easy centering, underside reverses for casting :::::::::::::::::::::::::::: pl . . . . . bats . i!i!!{[{! ;{ii!{{iii :::::~: 2:::::::: Y o u have comple te band f reedom at all t imes . . . smoo th ins tan t i{i::!::~:!::i:ff:~{i change ot speed f rom 30 to 150 r p m is cont ro l led by a foot pedal . {::ii::i:{i::i:.i::iiiil Easy to use, even for hand i capped persons . Use any V4 H P moto r . !:]:i:i:~:i:i:~:!:~ Standard V4 HP motor $16.95 when purchased with Master Potter's {i::i:ii::f:?:ii::i

ii!ili} M A S T E R P O T T E R ' S W H E E L Floor Model, I t em 47b, Wt . 90 lbs. L i s t s at $175.O0--Factory Pr ice . . . . $89.95 Ma,~TRI~. OOTTE.R'.~ VVI-IF, E L Bench Model. I tem 47a, ~:.~{~}::{!

DEPT. 71-M I~url|ngton, WIs.

Another N E W member of the

Special ized fami ly . . .

SPECIALIZED WONSTROKE A highly concentrated ceramic medium

available in 24 colors . . . especially suited

for "wafer-color" effects or extreme-detail

design.

A smashing success af the Eastern Cer-

amics Show where if was introduced last

month.

I/2 oz. Jar--40c (out of stafe---4Sc)

Available in k i ts . . . 8 jars per kit.

IF NOT AVAILABLE LOCALLY, WE WILL SUPPLY DIRECT.

200 West Third Street, Dept. CM, Plainfield, N. g.

10 CERAMICS MONTHLY

SHOW TIME

HOBBYISTS DISPLAY

THEIR SKILL

AND WARE

Ceramics played a lively role at Asburv Park's annual Caval- cade of Progress, a better-living-and-home show sponsored by the local Chamber of Commerce. Every evening of the week-long, early-April show. members of the New Jersey Society of Ceramic Art, Inc. "played" to capacity crowds, demonstrating the many facets of their craft--wheel-throwing, sculpturing, decorating, and hand-building.

Participating by invitation of the businessmen sponsoring the show, tim ceramics group also displayed an exhibition of members' work. This feature included pottery inspired by plant forms and ceramics in combination with driftwood. The Society, small in numbers and young in years, is composed of ceramic hobbyists working in the New .Jersey Shore Area. •

PLANT-LIFE inspiration is apparent in these pieces from the show. Notice bean-pod tray above and squash-shaped tall vase at top of page as well as decorative motifs on other pieces.

JUNE, 1956 II

using old hand-formlng methods, he seeks new shapes and functlons

DONALD MAVROS' WAY WITH POTTERY by JAMES GOLTZ

D ONALD MAVROS, well-known New York potter and sculptor,

believes that any piece of pot tery-- regardless of its function--should be dynamic and intriguing. It should, in his words, " . . . express the individual potter's creative d e s i r e . . , and reflect as many moods and shades as a paint- ing or a piece of sculpture."

In the potting world, Mavros is known as an experimenter. Each piece in his collection is unique, dramatic, individual. Although some of his pots have been converted to serve as lamp bases, vases or other utilitarian ob- jects, he feels each piece should func- tion as a graceful entity in itself.

His pottery--as well as his heavy, slablike sculpture--reflects a bold imagination. He describes his creative drive as "an urge to break through established lines and shapes to obtain new forms and new functions for pottery." Mavros' avant-garde ap- proach to potting applies to pottery decorating as well as building. He has perfected simplified techniques which give beauty and dynamic movement.

Long before throwing on the wheel came into the picture, the method used in making pottery for functional purposes was coil building or work- ing slabs or pieces of clay together into a hollow shape. It is with the lat- ter method that this article deals. We are primarily concerned with a few variations on an old technique-- variations that can produce striking, unusual pottery.

Mavros has successfully used three different approaches in his pottery. In the first, he drapes a slab of clay over a plaster form. In the second, he em- ploys a mold into which he drops the slab. And in the third, he builds the pottery shapes piece by piece. Now to go into details on each process.

THE DRAPE METHOD~

First, you make the drape mold--by simply scooping out a block of clay and filling the indentation with plaster, or by taking a finished (glazed) open bowl, soaping it well and pouring plaster into it. Be sure there are no slight undercuts in the shape for they will bind the plaster.

After the plaster sets hard, merely turn the bowl upside down and the plaster form will fall out. If by any chance it does not, soak the bowl in cold water--thereby helping the re- lease. Once the plaster form is dry it can be sanded to a smooth finish to remove any surface irregularities which may have occurred.

The clay should be wedged with fine, medium or coarse grog, depend- ing on whether or not a surface pat- tern is desired, depending also upon the heaviness of texture wanted.

It is rolled out, on a plastic sheet or

in the clay it can easily be worked together.

Once this step is completed the out- side edge can be determined and the excess cut off with a thin knife. The piece can then be set aside to dry to the point at which it can be handled without falling apart. But, if vari- ations in the form are to be made, an infrared lamp is an invaluable aid. By focusing the lamp's heat on the bottom of the pottery, that area can be dried so it can support the rest of the clay; the piece can then be removed from the plaster form, placed

EXPERIMENTER MAVROS displays pottery formed, basically, by different methods: Built up piece by piece (1), clay slab pushed into open mold (¢tr), clay draped over form (r).

on the reverse side of oilcloth, to a thickness of anywhere between one quarter and three quarters of an inch. The clay is then allowed to dry to a handling consistency (it is wise to leave it lightly covered overnight). When it can be picked up, the clay is draped over the plaster and pushed into place with the palms of the hands.

Mavros recommends the use of the hands whenever possible. This method keeps the potter in close contact with his material. If there is a break or tear

upright, and the sides changed by manipulating with the fingers or by building up. Once the piece is in its final shape, he turns to the texturing, decorating and glazing of it.

For a very heavy texture Mavros uses saw-toothed steel scrapers or tools made from a band-saw blade. For a slightly textured surface, a scraper with a straight edge should be used; this type smooths down the form and, at the same time, picks out the grog, leaving slight identations.

For a completely smooth suHace,

12 CERAMICS MONTHLY

you can use wooden tools, a rubber kidney, a smooth stone, etc.

T H E M O L D M E T H O D :

This method calls for a mold into which the clay is dropped. Parts of larger molds, pottery, or other con- tainers can be used. Mavros prefers to use bisque pottery as the mold.

The clay is again rolled out as in the drape method. But this time, in- stead of being draped, the clay is put into the mold. One of the advantages of this method is that the final shape of the pottery can be obtained almost immediately. Variations in the basic shape can be made by placing rolls of clay or other spongelike objects be- tween the clay and the mold. When the clay is almost leather hard, the piece is removed and finished off on both sides.

I f the piece is inverted during the finishing process, it is always best to support it underneath with rags or plastic rolled into a ball. Such support keeps the sides from cracking and the middle f rom sagging in. The edge is the last part to be finished, for now the clay is sufficiently hard to retain the clean lines that are desirable at the rim. Wooden tools and stones are used for this work, and if the clay be- comes too dry, a wet sponge may be run over the edge (but be careful not to use too much water) .

T H E P I E C E - B Y - P I E C E M E T H O D :

This method takes longer and offers greater freedom in making pottery. The shape is built, piece by piece, from the bot tom up. Mavros starts his in a mold or bisque pot which not only gives shape to the base but sup- ports it as he adds clay.

You make the base by taking a ball of clay and flattening it out to a thick- ness of about an inch. Then, starting at the base and working around it, as

in the coil method, you work the pieces of clay together to form the sides of the pot. The clay added at the bot tom should be thicker than that at the top because it has more weight to carry. I t is usually a good idea to stop when the wall is about three inches from the base and let the clay set before continuing to build. There are, consequently, fewer chances of crack- ing, collapse, or loss of the original shape. By setting the piece near a warm radiator or any other warm place, y o u can shorten the length of time needed for this operation.

The general shapes and individual forms of pottery made by this method are innumerable. They depend strictly on the individual potter 's taste. The most important rule to bear in mind is this: pottery should have a feeling of m o v e m e n t and l i f t . In other words, a pot should not be a static, monoto- nous, unexpressive piece.

The rule rings true, according to Mavros, not just in this method but in all pottery. "A vase or a bowl can be a thing of beauty," he says, "no matter how humble its function. I do not claim that all pottery should fol- low the classic Chinese lines, no, but there is nothing as beautiful, dynamic, or gratifying as a bowl that seems, by its o w n l ines , to be suspended in space.

"A pot should not just sit on a table- -wai t ing to be graced with a flower or a batch of homemade cookies. I t should be admired as a lovely entity in itself."

One way Mavros makes pottery in- teresting is by combining one color of clay with grog of another color. He is

sometimes confronted with a clay of uninteresting color when fired. He does not usually remedy this by cover- ing it with an opaque glaze. Instead he uses slips.

D E C O R A T I N G :

Because he uses Jordon clay to a large extent, Mavros has come to

.... " f ' l . . . ~ : .

depend on slips. Many of these are natural-clay slips, which he prepares by mixing clay with warm water, s t r a i n i n g i t through a screen, removing the ex- cess w a t e r and l e t t i n g it set.

Sometimes, he colors his slips with oxides and underglazes. In all cases, the slip should be of a thick-cream consistency for brushing, a thinner consistency for spraying.

Mavros ' formula for a white slip is: parts

Feldspar . . . . . . . . . . . . . . . . . . . . 43 Ball clay . . . . . . . . . . . . . . . . . . . 50 Kaolin . . . . . . . . . . . . . . . . . . . . . . 62 Flint . . . . . . . . . . . . . . . . . . . . . . . . 75 Magnesium carbonate . . . . . . . . . . 15 Whiting . . . . . . . . . . . . . 5 This slip can be brushed, sprayed

or sponged on. I t can be built up to give texture, or trailed on from a syringe or eyedropper. The decorat ing is done immediately after the piece is f inished--while it is still in the leather- hard state.

I n applying the slip, Mavros sug- gests that several thin coats be laid on, and that each coat be rubbed down with a rubber kidney in order to pro- duce a smooth final layer. But if you want texture in the slip, apply the coat unevenly and rub over it lightly - - j u s t enough to flatten the high spots, but not hard enough to level it

(Please turn to Page 33)

~, } )i:iL . . . . . . . .

THREE METHODS Mavros uses in producing basic shapes are illustrated here. tn the drape method ( i ) , a slab of clay is laid over a plaster form, pushed into shape with the hands.

In the mold mefhod (ctr), +he slab is dropped into a mold or other concave form. The piece-by-plece method (r) consists of building the pot up from the base as in coil building.

JUNE, 1956 13

j I ~ I ~ E N A M E L S

THREE-DIMENSIONAL D O U B L E L A Y E R M A K E S S T R I K I N (

I f you would like to try a sectional, enameled bracelet that is more

challenging to make than the simple, flat, link type, a three-dimensional version may be the answer.

This is a bracelet that is really two in one; it is composed of an under layer of sections that acts as a kind of backbone to which a top layer of sec- tions is attached. The three-dimen- sional effect is intriguing on the arm, and the top sections move along with the arm movement in a flexible, mobile way. There are numerous ways of connecting bracelets made of sev- eral sections, but I like the particular construction in question because, in addition to being good to look at, it

is very comfortable to wear, and has no visible "working" parts such as links, holes, or slots.

In some ways, constructing this type of bracelet-- the preparation of the copper sections and the precau- tions taken to prevent chipping of the enamel, for example--is similar to making the simple bracelet demon- strated earlier ("Link Bracelets," CM, May) . But we are dealing with what amounts to a double-bracelet con- struction here and, if it is to work properly when worn, all the connec- tions must line up correctly. This means a very carefully prepared pat- tern and also accurate measurements wherever space for links and holes is

involved. The smooth operation of the finished product is ample reward, however, for extra effort.

Working out a careful color sketch for the enameling design is another important part of the process. Too much work and material are involved in a bracelet of this kind to take a chance on weak or uncertain design! The top sections, of course, call for more elaborate planning, but the color, texture and general feeling, of the under layer must be taken mto consideration, too. All parts of the bracelet should have the effect of "be- longing," of going together as one unit.

The designing of a piece and the

I . Beginning of the pattern: a slightly arched strip of paper is tried for fit.

b

5. Outside corners of holes are squared off with a file so links can work easily.

2. Blueprint pattern for two-layered bracelet with links between is worked out.

6. The under-layer sections are now shaped a bit to curve with the arm when worn.

3. Pattern for sections is traced on annealed copper, and the shapes are cut out.

. . . . . . . . : . . . . . . . . . . ; . . , : i . ; . . i ~ . : . . . . . . . . i

7. The position of each link is checked fo~ accuracy before being soldered in place

14 CERAMICS MONTHLY

BRACELETS ~ R N A M E N T

enameling techniques to be used are always a matter of individual choice. In the following demonstration, there- fore, the emphasis is on the construc- tion of the three-dimensional bracelet. This construction is very adaptab le - - the bracelet can be any width desired (a narrow one would require only one connecting link for each section) and any number of shapes are possible for the sections that make up the piece. In the particular design used here, the sections of the under brace- let are to b~ shaped to clasp the arm; the top sections (left flat) will ap- pear to be standing away from their base.

Pieces of the same shape are clamped ]ether and filed simultaneously.

• : ~ ;

When the bracelet is assembled, links closed and a safety chain is attached.

1. The basic shape of the bracelet (in this case, the backbone) is cut out of paper. I t is as wide as the fin- ished piece is to be, and space (about I~-inch) is allowed for the clasps. I t is tried on the arm for fit and ad- justed if necessary'.

2. The strip is laid out fiat and divided into the number of sections desired with a 3/16- to ~ - inch space left between each section for the con- necting links. Holes and links are sketched in, with one of the actual links used for accurate measure - - space allowances must be exact.

With the backbone of the bracelet thus laid out, the shape and size of the sections to go on top are drawn in (dotted lines in photo). In de- veloping the pattern, the fact that the basic shape of the bottom layer is a shallow arch, wider at the top than at the bottom, must be kept in mind.

When the pattern is finished, the color sketch for the enameling xs worked out carefully on paper. (For this demonstration piece, the wireless cloisonn~ technique, described in CM in December, was used; and foil accents were i n c o r p o r a t e d - silver paillons on the under sections and bits of foil on the top sections.)

3. Copper (20-gauge) that has been annealed (preheated) is to be used. Whether they are to form the top or under layer, the bracelet sec- tions are prepared, generally, in the same way. First, a tracing is taken from the pattern; the holes in the tracing for the under sections must be drawn with absolute accuracy so that they will line up properly (fold- ing the paper in half is a good check on exact placement). The tracing is then transferred to the copper with red carbon and the outline scratched into the surface of the metal with a sharp pointer. (To eliminate the two tracings, the pattern itself could be cut out a n d traced around.

When all the sections have been cut out, they are flattened with a raw-

FINISHED demonstration bracelet fits the arm snugly while the top sections stand away from the base in three-dimen~ional effect. For another example of Jo Rebert's 3-D bracelets, see the February issue of CM.

hide mallet.

4. Being identical in shape, the sections for each of the two layers are clamped together in a vice and filed sim.ultaneously--this makes the job easier and produces uniform shapes. All the pieces are then planished (both sides hammered lightly for several minutes) to help prevent warping.

At this point, the areas marked for holes in the under sections are center- punched and drilled. A drill the same size across as the links which are to be used, or just slightly larger, is used to make the holes. (For links that show on a bracelet, slots are usually preferred but they have to be cut out with a jeweler's saw; this task can be eliminated in cases such as this one where the links will be completely undercover and drilled holes will serve as well.)

5. Squaring off the corners at the outer edge of each hole will allow the connecting links to pull tightly and evenly. One by one, the sections are clamped in the vice and the corners in question filed with a small Swiss crossing file. The outer straight edge is leveled with a small warding file. After this operation, the pieces are planished again on both sides.

6. The sections for the under layer which is to clasp the arm must be curved slightly at the sides. This is done by hammering with a rawhide mallet, the process actually stretching the copper to shape rather than bend- ing it.

Less preparation is needed for the top sections which have no holes to be cut and which, in this design, re- quire no curving. They are simply cut, filed and planished.

(Please turn to Page 33)

JUNE, 1956 15

OUND

;LAY M U S I C A L

OFF W

Wl I N S T R U M

)BERT F. BUSSABARGER

MEXICAN is blown fl

SOUND DEVICE consists of wedge-shaped opening in hollow chamber (A) and small tapered passage to blow air through (B). Holes in side (C) provide varied pitch.

\

Q

VARIETY of forming methods are suggested here: pinching, draping or wheel throwing (animal); slab cutouts (bird); forming on a rod (pipe); casting or pressing in mold.

DOUBLE fish pipes: two notes can be blown simultaneously.

ARMADILLO, below, fish pipes and the creatures on opposite page are a few examples of whistles made by the author.

16 CERAMICS MONTHLY

STLES OF E A R L Y M A N

MULTIPLE whistles are incor- porated here--ln the heads, legs, the fall of horse at right.

M ost of us associate whistles with policemen, factories, New

Year's parties and children at play. The whistle, or flute as it might pro- perly be called, was, however, one of man's first aerophonic musical instru- ments. Made of hollowed-out bone, clay, stone, cane or metal, the simple flute is found in practically every early cuhure. The music created with it has served chiefly as a supplement to ritual dances and ceremonies as well as magical compulsions. Nevertheless, the person who made such a flute, or blew on one, or listened to its music undoubtedly derived a good deal of individual satisfaction in the process.

The Incans, Aztecs and a few North American Indian tribes made flutes of clay. They made the simple straight pipe (with or without holes, this is the most basic flute shape found ) ; and they also made more complicated shai~es in the form of flowers, fish, snakes, birds and men. These are called "cohuilotl" or "chilitli." Whistl- ing pots and even panpipes were fashioned from earthenware by the Incans. Clay whistles like those of long ago are still common to the Indian cultures of Mexico, Central and South America.

T h o u g h the flute of humble origin has been developed into a more com- plex musical instrument, children and grownups everywhere seem never to lose interest in handling and blowing the simple whistle. Its universal ap- peal whetted my own endeavors. And just as the modeling of his flute en- hanced its worthwhileness and mean- ing as an instrument for the Incan, so have I been concerned with its sculp- tural and aesthetic potential. To some, a whistle may seem like just another gadget, but it is entirely possible to incorporate a high degree of sensitivity and meaningfulness within its creation.

There is actually no one method of modeling the form or of providing the sound device within the whistle. I can only tell about my own explorations and let the reader continue the idea in his own way.

The sculptural form can be de- veloped roughly by one construction method or another, or by a combi- nation of methods. I t can be pinched out of clay, thrown on the wheel, formed over a rod (this would be the simple straight pipe), slab-built, cast or pressed in a mold (see sketches).

Whatever the method of arriving at the form, however, the whistling or sound device must be kept in mind f rom the beginning. Its success de- pends on three elements in the clay form: 1) the form must have a hol- low chamber ; 2) regular or smooth in- side walls generally produce a better

tone; and 3) the basic fo rm must allow for free circulation of air vibra- tions: very commonly, the fo rm used is long and cylindrical, but spherical, oval and even boxlike constructions are also satisfactorv shapes.

The openings which comprise the whistling mechanism are made before the modeling of the form is completed and while the clay is still soft and leathery. One opening is wedge shaped; the other is a taper ing air passage leading to it. This is the way to make them:

First, using a knife, cut the wedge- shaped section at an appropriate spot (sketch A ) : this opens into the hol- low chamber. Then, with a toothpick, nail or hairpin, make the small taper- ing passage (at bottom in sketch B) : for best results the shape of this opening at the outside should be a thin rectangle and the passage should be smaller at the point where it enters the hollow chamber. This pas- sage controls the stream of air so that it hits the sharp wedge directly (the principle involved is the same as when you blow across the hole of a bottle to make a whistling sound; here, how- ever, the device is more control led) . If, when you blow on the instrument, the tone is not clear, adjust the angle of the wedge and tapered passage.

To create varieties of pitch, holes may be made in the side of the clay form or elsewhere, depending on the shape of the whistle (sketch C) . All work on the sound mechanism should be completed before the clay has dried. After that the body can be added to, incised, polished, painted with slip or decorated in other ways.

Going back to the modeling of a form for a whistle, this like any other sculpture can be approached in different ways. You may have a rather definite shape in mind f r o m the ~ ..... ~v~:~;~ a:~>E-~¢, b e g i n n i n g a n d ~ / ~ ~ i fashion the form to t h i s image. On the o t h e r hand, an idea can evolve from the presence of an ab- stract clay shape which has no par- ticular identity: a seedlike shape, for example, may become a fish or turtle; or it may be left simply as it is embell- ished only with ornamental surfaces.

In making clay whistles, mechanical skill obviously has to be exercised. But the process and the end product represent far more than that. In its wholeness, the making of the whistle can be a joy, a struggle and a balance between the certainties and the un- certainties of creativity. •

JUNE, 1956 17

%tl r # the, 2 enn,glvani0 9ut&, Part 2

Early Works Modern

and

by Marguerite Montgomery

Adaptation

uring the eighteenth century when Josiah Wedgwood was developing his delicate cream, or Queen's ware in England,

the Pennsylvania Dutch in remote fanning communities across the water were fashioning rather primitive pot- tery which would eventually be con- sidered art.

Hard working and earnest, these German-speaking settlers in Pennsyl- vania needed pottery chiefly for utili- tarian reasons al though special pieces "just for fancy" were also in demand. In either case, the ware was made for and by a "common" folk; and the needs of the day were produced from local materials.

We can find European and Orien- tal precedent for what the Pennsyl- vania Dutch have given us but at the same time we have in their ware some of the first truly American folk

This is the concluding portion o[ an article begun in the April issue.--Ed.

art. Their work was simple and sin- cere. Although created primarily for utility it also satisfied a desire for a bit of luxury, a dab of color, a touch of the homeland that had been left behind.

Most of the ware was quite similar - - t h e clay body red and the use of color limited. There were no delicate shadings or mixing of colors (and it was not until the middle of the nine- teenth century that color was con- fined to specific areas). Occasionally black and a lighter-red clay for con- trast were used; the smudges of green color characteristic of earlier pieces were usually gotten with copper.

At one time nearly every Pennsyl- vania-Dutch communi ty had its own potter. But eventually the Industrial Revolution swept over these crafts- men. Their ware began to be replaced by cheaper, more durable and light- weight products. Those who continued to work at the craft had to turn to making crocks for apple butter, lard

and the like. The fancy pie dishes of their fathers were all "but forgotten.

The old Pennsylvania-Dutch pot- tery now greatly admired and sought by collectors might have remained in oblivion but for the ceramic author- ity, Dr. Edwin A. Barber. Uncover- ing an inscribed piece of earthenware in a junk shop some fifty years ago, he found it to be of Pennsylvania ori- gin inscribed in a dialect of the Penn- sylvania Dutch. This started the search for the work of the old potters; and their ware entered the realm of folk art. (The Philadelphia Museum of Art accumulated its collection, one of the finest in the country, through the efforts of Dr. Barber.)

ONLY A FE'W of the potters (ex- amples of whose work may be seen in the various museum collections) can be mentioned here. One of them is DAVID SPINNER. He, of all these earl}- ceramists, was perhaps the most suc- cessful in depicting the human figure

£ o

UNIQUE because of many figures depicted, the plate with dancers (c. 1786) is thought ta be by Johannes Neesz. The covered jar (c. 1800) is the work of Jacob Scholl who is noted for design well fitted to the shape of the pat. David Spinner did the plates at right (c. 1810): when they are overlapped, the hunting scene unfolds in its entirety.

18 CERAMICS MONTHLY

ADAPTATION: When the author made the Fritsch-family set of plates and bowl (r)

her design ideas came from a 1795 birth certificate (below). Notice how the

individual motif on each plate is picked up in the design on the bowl.

~to: Bucks County Historical St~c;cty

¢-~i ~ ~..~; : ~ , ~

N

i i : i

e, ; ; : : :

ii iiii ¸'¸

ill !! !!I !

: :: :!:s:: :~! i i : i i ii: ~:i : ~: ! i : :

Photo: Rolland H. Smith

in decoration. A number of his plates show horses with riders. Two, executed around 1800 and now in the possession of the Philadelphia Museum, depict a deer chase (see the photo below) : on the first plate, deer and hounds are followed by the front portion of a horse and rider; the second plate shows two riders. When the second plate partly overlaps the first, the hunting scene unfolds in its entirety.

Spinner's style was very free. His figures were done without the aid of transferred design; indeed, no portion of his designs appears to have been

traced or stenciled as was the custom with other potters.

Political figures became popular motifs on plates early in the 1800"s. Usually, the person was depicted on horseback; and, unless the piece bore a title, it is difficult to identify h i m - - George Washington and General Jackson look pretty much alike. The spread eagle grasping an olive branch or banner appears in the 1820"s; an 1864 piece by SAMUEL TROXEL has "Liberty for Polk" printed in a banner over a spread eagle.

JOHANNES NEESZ worked in a

manner similar to that of David Spin- ner. There exists an interesting plate which, although unsigned, may well be his for the border treatment and lettering are characteristic. This plate (opposite page) is unusual in that a number of figures - - two dancing couples and a fiddler--are illustrated. I t is thought the potter may have' been depicting the Mischianza, a dance given to the British General Howe on the occasion of his departure from Philadelphia. Several of Neesz' pieces show a Continental soldier resembling Washington, on horseback.

DOUBLE-DOVE motif was a favorite of George Hub- ener who made the plate above (dated 1786). Of all the early potters, his work is perhaps the best known.

JUNE:, 19S6 19

Beautiful feeling for balance is in- herent in the designs of JOHN LEIDY. Yet, from the way the elements within a gwen design vary, one knows the balance was not achieved through tracing. He is one of the potters whose humorous inscriptions are sometimes quoted: for example,

Rather would I single live Than to the wife the breeches give.

Another of the early potters, JACOB SCHOLL is distinguished for his sensi- tive feeling for shape: each of his de- signs is perfectly proportioned to fit the shape it occupies (see jar, p. 18).

Today's public is perhaps more aware of the work of GEORGE Hun- ENER than of others. The well-known double dove, peaceful counterpart of the warlike German double eagle, is his motif (example shown, p. 19). I t was adapted,, incidentally, for a plate commemorating President Eisenhow- er's birthday in 1953. Another favor- ite Hubener motif is the peacock looking back at its tail. A double border of lettering is found only in his work, and in his designs more than in others there seems to be a deliberately achieved balance as well as greater strength and virility.

As MENTIONED PREVIOUSLY, ex- a m p l e s of the old-time ware including pieces shown here may be seen in cer- tain museums. Occasionally, too, pieces are available from antique deal- ers but the tariff usually exacted is more than most individuals can afford. The contemporary ceramist, however, can bring something of the charm and flavor of folk art into the modern setting by making adaptations of the Pennsylvania-Dutch style.

20

~p- by

~ed ker- w).

% "E

In adaptations, the characteristics of the original may be modified to suit the taste and materials of our time. Our pieces need not, for example, be thick and heavy as was the early ware: the greater strength of present- day clay bodies allows thinner walls.

If you want to do adaptations, by all means first get the feeling of the old techniques. Visit the museums which display fine examples; study the pieces carefully. Obtain photo- graphs and acquaint yourself with the proportions of the early designs. Then take a clay tile and practice the kind of strokes the old potters used in subject matter and lettering. Learn to swing a sgraffito tool (illustrator's scratch pens are used) the same way they used theirs. When you have the feeling and sense of their style, swing out your own free-flowing lines and find out what the tool can do. Re- member, in doing sgraffito work with a pen, that a line can be started rather thin, broadened out as the pen turns slightly, then finished in a fine hairline.

Work especially on lettering [see "Penmanship in Pottery," CM Janu- ary]. Examine the different early styles: Dr. Barber's Tul ip Ware of the Pennsylvania-German Potters, now out of print, is an excellent source if .you can find it. Compile an alphabet Incorporating the various ways of making each letter. Eventually, you will work out a style that is your own - - your adaptation. Your personality will assert itself in the lettering very much as it does in your handwriting thus making it different from that of the person who taught you to write.

It is a good idea to steep yourself in the old-design style not only as it appears on pottery but on tin, paper, wood, iron, stone and cloth. The hand- lettered manuscripts of the Ephrata Monks and Sisters, for example, are rich in design; the hymn books of the same group are magnificently done in the style of medieval illuminated manuscripts.

Great variety of design is to be found in the old Fraktur-Schri f ten (decorative hand lettering), the Tauf- Schein or baptismal certificate, the Trau- Schein or wedding certificate, the Geburts-Schein or birth certificate. I adapted one of the latter, for ex- ample, in a set of plates and serving bowl made for friends (photo p. 19). Each plate bears a different flower motif; then all of these are brought together in one design in the bowl. The German or Pennsylvania-Dutch inscription, in each case, appears in translation on the reverse side of the piece. Another set of plates that I made was inspired by a decorated 1788 chest: again, the design on each plate was different yet all blended with the design on the chest.

The Pennsylvania-Dutch style calls for rather simple handling of the decorative subject mat te r - -and this is one of its attractions for the ceramist. It does, however, place certain limita- tions on the decorator, especially in the use of color (ordinarily, only yel- low, green, blue, orange-red and black are used, and they are neither mixed nor shaded). For inscriptions, any saying which appeals to us can be adapted to our purpose.

As a matter of fact, one of the old sayings of the Pennsylvania Dutch ad- monishes me, at this point, to con- clude my remarks on the subject. The saying is this:

Nobody can hang you [or your thoughts, But they'll slap your mouth [or talking too much. •

t'i~,,:o : Ph&idelphia Museum oS Ar t

OLD PIE PLATE (c. 1800) is by Spinner.

CERAMICS MONTHLY

by F. CARLTON BALL

T hat gigantic p o t - - t h a t tour de [orce you dream of making some

day if you ever have an immense kiln - - need wait no longer to be- come a reality. A big pot can be made in spite of a little kiln: the pot can be thrown as a whole, cut in sections for firing, re-assembled when fired and cemented together as one piece - - a great big beautiful dream come true.

Achievin~ the big pot by the sec- tion metho~t is not only fun to do but an enlightening experience and a good test of skill. On the surface, the process may appear to be easy but right at the start I would like to post "a sign reading, "Beware: Dan- ger Ahead." Throwing an outsized pot and then handling it in such a way that it won't warp takes quite a bit of skill.

( In writing on this subject, I real-

ize a certain predicament: the potter with skill enough to handle a really big piece usually has a kiln large enough to accommodate the whole pot; and the novice with great am- bition but little kiln often does not have the ability to produce a large pot! Still - - there is the old saying on which the potter's future might be said to hinge - - "Nothing ven- tured, nothing gained.")

Making any large pot is a chal- lenge to your designing ability for mis- takes tend to be emphasized and good points minimized. The best approach is to keep the pot extremely simple in shape. Then resig~a yourself to a period of practice and experiment in which you can expect one good pot out of six or eight attempts. (After this learning process you are a better potter. The practice of handling a large lump of clay is good: it gives

you confidence and strengthens your arms and hands; your eye becomes more critical and yodr sense of touch more sure.)

The overall design of a large pot that is to be converted to a sectional construction calls for special consid- erations. The shape should be one that lends itself gracefully to division. The clay must be manipulated in such a way that the surface will be pleasing and at the same time dis- gmse the joints where the sections meet. Surface enrichment should also be so planned as to help conceal the jolnmgs.

The clay used should have a great deal of grog wedged into it. Grog cuts down on warping, an extremely important factor in this situation. It does, however, make throwing the big pot - - which is never gasy to d o - - the more difficult. Precautions against

THESE OUTSIZE POTS (11" and 15" tall) were fired in a nine-lnch, top-loading alectric Eilnl Details on how ff was done are in the text, and in photosknexf page.

JUNE, 1956

Make the pot tery full size

Cut it into sections, add flanges, f ire

Then put it together again

. The leather-hard pot is placed on a slowly revolving wheel anJ cut, horizontally, into three sections. This is done with a narrow,

thin-bladed steel knife which is held very firmly and worked gradually through the wall. Then the sections are separated: they are handled ever so gently for the least strain could cause warpage.

. A flange is now formed at the top rim ot the bottom section: a coil ol clay is

laid along the moistened inside edge, gently pinched into the wall, thinned, trimmed, and

thrown to shape. Utmost care is taken not to change the shape or size of the section.

. The finished flange must be of a size that allows for a 1/16- to I/8-inch space between it and the inside of the

section fitt ing over it. With the middle section in place, a similar flange is added to its top rim. The pat is then left assembled to dry. For firing, the sections are set on a thin layer of fine grog or sand, a device which helps them shrink without warping. If they are fired separately (necessary in a small kiln), the time and temperature span must be the same for each section in both bisque and glaze firing.

warping are also essential when the pot is cut into sections and fired. Each section must be fired most care- fully so that, a l though done separate- ly, the degree of shrinkage will be the same in all of them. When finish- ed, the par ts must fit perfectly.

I f glaze is used, it should be suit- able to the charac te r of the pot ; and if there are depressions in the deco- ra t ion of the surface, filling them in

with a darker glaze - - or slip or pig- ment - - helps to obscure the joints. No glaze, of course, should be left to adhere to the surface of the joints.

Rubbe r molding compound , wax, asphal tum, or similar adhesive may, be used for cement ing the sections together to make the pot whole again. T h e mater ia l should be t ra i led into the seams f rom the inside, and an eve d roppe r or syringe makes a satis-

factoi)" t rai l ing tool. In general, the finished pot should

look large and heavv and coarse-tex- tured - - in keeping with the heavy grog content of the clay and the type of surface t rea tment devised to con- ceal the joints. All the details must fit one with the other in order to make a complete and unified whole. When this happens you have a big pot that is a beautiful pot. •

22 CERAMICS MONTHLY

briefs... Fish Forms for Plaques

by NOLA MATSON

A f i sh on the w a l l - - a ceramic f i sh t h a t i s - - m a k e s a f ine decora t ion w h e t h e r i t ' s h u n g indoors or out. You can be as imag ina t i ve as you like abou t the f i sh you make. So t ake out your pape r and s h e a r s and e x p e r i m e n t wi th shapes .

Fold the p a p e r in ha l f and cut out a good basic f i sh- out l ine, be ing sure to include the f ins . Sketch de ta i l s of the eyes, mou th and cu touts on the pa t t e rn .

Lay the p a t t e r n on a s lab of clay a t l eas t t h r e e - e i g h t h s of an inch thick, and cut a r o u n d the p a t t e r n wi th a sha rp - pointed tool. Remove the excess clay but leave the p a t t e r n in place. Then t r ace the cu tou ts and eyebal l w i th a p e n c i l - - i t will leave a deep enough impres s ion in the clay. Remove the p a t t e r n and immed ia t e ly cut out the t r aced a r e a s wi th the s h a r p tool. A t th i s t ime p rov i s ion fo r h a n g i n g the f i sh should also be made : I bore two holes below the dorsa l fin.

So f a r we have only a pe r f ec t ly f l a t f ish. Now we come to the s h a p i n g and detail . I f ind t i ssue p a p e r a n inva luab le aid in th i s process. F i r s t , l ay the f i sh on a shee t of p las t ic ; t hen s tuff smal l wads of t i s sue p a p e r u n d e r the p las t i e un t i l you have shaped the f l a t c lay into a nicely rounded h a l f - f i s h fo rm ( the p las t ic be tween f i sh and t i ssue m a k e s fo r a smoo the r unde r sm~ace) .

W i t h the f i sh shaped and the t i ssue sti l l s u p p o r t i n g it, detai l in the fo rm of smal l coils or wads of clay can now be added wi thou t difficulty. Bu t f i r s t be sure to score and sponge the a reas involved so the added clay will adhere . In the d e m o n s t r a t i o n f i sh shown here , t i ny coils were used to de ta i l the tail , f ins , cu touts and eye.

Decora te f u r t h e r accord ing to your imag ina t i on . The more f a n t a s t i c the f i sh the more fun. Then leave the f ish , st i l l stuffed, f o r a couple of days. W h e n the c lay h a s set , r emove the t i s sue and ca re fu l ly pull off the plas t ic . Sc rape and sponge r o u g h edges, and let t he piece d ry t h o r o u g h l y before b isque f i r ing .

Glaze accord ing to you r f ancy and the piece is f i n i shed ---except f o r the h a n g i n g . ( I use key chains f r o m the f ive- a n d - t e n - c e n t s tore , c u t t i n g t h e m off shor t so t h e y don ' t show above the p laque; bu t t h o n g s or o the r m a t e r i a l would do as well.)

W o r k out your own ideas for ceramic f i sh ( I ' m go ing to t r y a double one as a mobi le for the pa t io) . The i m p o r t a n t t h i n g is to m a k e a f i sh t h a t is t r u l y your o w n - - a n o r ig ina l in shape and d e c o r a t i o n . - - C a s t r o Valley, Calif.

1. Fish shape is cut from slab by tracing around paper pattern. 2. Cutouts and texturing are made, then decorative coils added.

3. (left) Flat form laid over wads of tissue gives rounded shape. 4. (above) Ready for hanging: try using chain, or a hook and line.

JUNE, 1956 23

I Guaranteed Ceramic Supplies

for SCHOOLS STUDIOS TEACHERS HOBBYISTS Manufacturer's representative for RE-WARD products. Distributor, sub-distributor and dealer inquiries invited.

O L E V I A C E R A M I C S Wholesale and Retail

Phone 3-0476 152 Conklin Ave., Bingharaton, N.Y.

COLORED CLAYS... for flowers and jewelry. Ceramic and porcelain. "See colors as you work"

Inquire at your dealer or write direct

A M E R I C A N BEAUTY CERAMICS manufacturers and distributors o~ ceraraie supplies 15648 Euclid Ave. East Cleveland 12, Ohio

MOVE-IN SALE NOW ON[

MOLDS--RAROAmS GALORE! See us in our N e w H o m e

NORWEST NOVELTY CO. Open Sundays 32480 Northwestern Hwy.

Closed Mondays Farmington, Michkqan Phone: MAyfair 6-6003

CUSTOM-MADE FRAMES FOR 6x6 CERAMIC TILE, ENAMELED TILE, ETC. MAKE YOUR OWN I"ABLE$! write today for description and prices.

H A L L A M S T U D I O 1 6 0 0 M a i n S . . . . . Racine, Wisconsin

IMPORTED W H I T E C H I N A Send 25c fo r cata log

Deductible from first order Maryland China Company

1436 N. Gay St., Baltimore 13, Md.

"RODETTES" The new & novel patterned glass for copper jewelry. $1.00 per package. R O D E R C E R A M I C S T U D I O 1331 RACE ST. PHILA. 7, PA.

exc i t ing . . , n e w . . original _ j watch for our

new designs

SEND 25c FOR CATALOG

SAHUARO, BOX 133, STA. A, P A L O ALTO, C A L I F O R N I A

The Plaster Series by Dorothy Perkins

A MOLD FOR SOLID CASTING Port 2,

In the last issue (May) , the author show- ed how a solid-cast mold, [or casting pot- tery o[ varied wall thickness, may be made. She concTudes the article, below, with instructions on the finishing and using o[ such a mold . - -Ed.

FINISHING: When the clay model has been removed, the working sur- faces of the mold are refined with very fine, wet sandpaper. Provision for the slip-entry is also made at this time. I t may be cut through the mold with a bit and brace, or by hand. As pointed out earlier, the entry must be made at the thickest part of the form,

and this thickest part must be highest in the mold. I t is also essential for the entry to taper f rom the inside of the mold to the outside; in other words, the diameter on the inside must be larger than on the outside. If not, it will be impossible to lift this section of the mold after casting. The size of the entry is also impor- tant. I f it is too small, it will set up solid with slip before the form itself has become entirely solid (this can dimple the surface of the cast or trap air in the cast). If, on the other hand, the entry is too large, the portion of the form at the slip entry will be so

slow in casting solid that other por- tions may crack from shrinkage in the meantime.

On the inside of the mold where the slip entry meets the working sur- face, the edge should be rounded and well-sanded. This will eliminate the danger of cracking or tearing the cast- ing at the point where the clay comes in contact with the sharp edge. After the slip entry is completed and the inside of the mold wet-sanded, the outside edges are beveled. The mold is then set aside to dry thoroughly.

CASTING: When you are readv to cast, it is helpful to use a smal( tin can, with both ends cut out, as a slip reservoir. Dip the can into the cast- ing slip, center it at once over the slip entry,, and it will adhere firmly to the mold. Using the can has two

advantages: it makes repeated fillings of the mold unnecessary, and it ap- plies a downward force which aids in solid casting. In fact, the reserve of slip supplies a surprising amount of force and, regardless of the size of the mold, it is well to put weight (such as a brick) on it before pour-

(Please turn to Page 28)

ASH TRAY by the author is example of the varied wall thickness that a solid- cast mold makes possible. This type of mold is as suitable for symmetrical as for free-form shapes.

24 CERAMICS MONTHLY

c~rief~

New Wedging Technique

A f t e r s t r ugg l ing for years ( a n d w a t c h i n g s tudents s t r u g g l e ) wi th wedg ing tables , many of them too high for shor t people, I 've come up wi th a solution t h a t works much be t t e r than it sounds.

Bolt a wedging board to the floor in a corner of the studio, mak ing sure it is ~-o f irmly fixed tha t it cannot move around when in use. F ix a kneel ing pad to the floor a long each of the two exposed s ides; and then wedge in a kneel- ing position.

You will find tha t this is much, ~nuch less tiri~zg than wedging in the conventional s t a n d i n g position. Kneel ing allows you to get a rocking movement f rom the th ighs ; in l i f t ing the clay you can use your en t i re back; when slam- ming the clay down, you can put the full weigh t of your torso behind it.

In short , you can wedge g r e a t lumps of clay in no t ime at all. I t ' s wor th a t ry ; especial ly for the (l i t t le) lad ies . - -Li l i Hirseh, White Plains, N .Y .

A N E W B O O K

C E R A M I C S f o r t h e a r t i s t p o t t e r

by F. H. Norton

The most complete book on ceramics! F rom choosing the proper clay to p u t t i n g the final touches on a piece of pot tery, each opera t ion is explained clearly and s imply and is i l l u s t r a t ed ful ly with pho tographs and d iagrams .

The first ha l f of the book expla ins how-to-do-it opera t ions for forming , f inishing, and decorat ing. The second ha l f goes into more advanced discussions of clays, molds, decora t ing , g laz ing , etc.

A superb teaching guide and reference book! The au thor tel ls what the a r t i s t pot ter does and why he does it. 320 pages ; 471 il lus- t r a t ions ; 7" x i 0 " format .

Bea~ t i f . l l y bound, deluxe edition--S10 per copy tOhio residents add 3 '~ sales tax)

CM pays the postage!

Send to : CM BOOK D E P A R T M E N T

4175 N. High S t ree t Columbus 14, Ohio

Portahle Ceramic Spray Booth

IDEAL FOR ALL CERAMIC SPRAY JOBS. ELIMINATES SPRAY DUST, MASKS, TOXIC FUMES. NO OUT-

SIDE VENT NEEDED FOR ALL CERAMIC HOBBYISTS Size Open--20" W. 20" H. 23" Deep.

Folds for Easy Sforacje

Welded steel cons t ruc t ion . Green baked enamel finish. Power fu l elec- t r ic fan . S t anda rd size, low cost fiber g lass fil ter. Completely assem- bled, ready for use.

o,,, $34 95 AT YOUR * D E A L E R S OR F.O.B. F A C T O R Y SI-[. WGHT. 21 LBS. SEND CHECK OR MONEY O R D E R NO C.O.D. 'S P L E A S E

DETROIT FABRICATING CORP 7521 ST. AUBIN, DETROIT 11, MICH.

SUMMER GREENERY

all year 'round

Wifchazel Leaf---No. 3S--Use as an ashtray or wall decoration $3.50

Cabbage Leaf---No. 3b--Excellent Saucer for desserts and fruits $3.50

Nest of Ivy--use both molds together for four graduated sizes

No. 9-- Ivy Leaf--use alone or together wlfh mold No. 43 $3.25- -5~"

No. 43--Contains three nesting ivy leaves in one mold: $5.50----41/2 ", 4 I/8", 3 3~,,

All molds (c) Bee FOB Rumson, N.J. Add 10% for packing, S0o minimum. No COD's, please.

Send for FREE illustrated Brochure & Price List

I ¢

70 Oak Tree La.e. lumson, N.J.

JUNE, 1956 25

N E W - FROM Re- Ward " D U L - M A T " GLAZE

(not satin) SUPER - 1 - STROKE

ceramic color W r i t e T r i n i t y for R e - W a r d Ceramic Color Price List.

J A Y D A R H A ceramic turquoise stone at cone 09

A sel f -glazing, one fire, v i t reous body in pow- der form. Excel lent for jewel ry or inlay. No special t r a i n i n g necessary. Works l ike clay. Avai lab le also in avocado, chartreuse, blue- green and whi te to be colored to suit . Instruc- t ions in package . 4 oz. $1.00, */~ lb. $1.50, 1 lb. $2.50: check or money order. Add 15c postage .

WILTON POTTERY Sier Hill Rd., Wilton, Conn.

E N A M E L I N G S U P P L I E S New York City

A very l a rge selection of i n t e r e s t i ng cop- per s t a m p i n g s a t b ig sav ings . S P E C I A L : Copper Cuffl ink, f inest qual i ty , ac t ion backs, pa tented " s nap - type " action, a real buy a t $7.00 per gross re ta i l . Retai l and Wholesale ca ta log ava i lab le .

Charles Harr i s Co. 2894 Broadway New York 25, N. Y.

FIRE PHOTOGRAPHS . . . . . . . . On Ceramics , Glass , or Enameled Metal with our special type of made-to-order de- cals. Color can be Black, Brown, Blue or Green. Make de l igh t fu l jewelry, personal- ized ceramics of m a n y kinds. Pr ices s tart at $1.00. Send for free booklet.

BATTJES PHOTOCERAMIC DECALS 1453 Lyon N.E. , Grand Rapids 3, Mich.

WROUGHT - IRON TABLE FRAMES FOR 6 X 6 CERAMIC TILE, MOSAIC TILE, ETC.

D I S C O U N T S to S T U D I O S and SCHOOLS

Write today for Descr ipt ion and Pr ices

ca,mel /o,k cente,., inc. P.O. Box T-1 Carmel by the Sea. Cal i f .

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

We have a complete l ine of school suppl ies and equipment : slips, clays, colors, ki lns , wheels, tools, brushes, sprayers , pens, and books. Free cata logues to schools and cer- amic t eachers : Ceramic-Molds-Copper Enam- el ing.

7 ELM STREET, ONEONTA, NEW YORK

COPPER ENAMELING S U P P L I E S

Enamels • Copper shapes & forms • Findings • Kilns

Send for catalog Also complete line of ceramic

supplies and equipment.

ILLINI CERAMIC SERVICE 4 3 9 N . W E L L S ST . , C H I C A G O 10, I L L .

T E L L : M I C H I G A N 2 - 3 3 6 7

2b

I E R G L A Z E PAGE

Guide to Fir ing

by ZENA S. HOLST

It should be understood that for success the final temperatures used in maturing overglaze decoration (china painting) must depend entirely on the type of ceramic ware being dec- orated rather than on the type of overglaze used. Many manufacturers state that overglazes (all kinds which includes metals, lusters, mineral colors and enamels) mature at cone 018; that is, at 1238°F. This is meant only as an average temperature, yet the statement misleads many decorators. Finishing overglaze decorations on all kinds of ceramic ware (soft, medium, and hard~ at this particular temper- ature will not give uniform results on all pieces. A chart of the different temperatures to be used for the prop- er annealment of overglazes on var- ious bodies should be followed re- gardless of the type of overglaze used.

An explanation of the variety of clay bodies generally used for china painting may help the reader to un- derstand the categories in the firing guide which is to follow. Truly speak- ing, "pottery" includes all clay com- positions that are fired, and porcelain would be in this category. The hobbv- ists of today, however, make their own distinction in the type of pottery which they make with "art" clay. Not wanting to call the many fragile and dainty objects they make "pottery" (especially the semi-porcelain that is matured at cone 6), this group usual- ly call their ware "china." This is sometimes confusing to a beginner in china painting who knows nothing of clay compositions and has the impres- sion that china is translucent ware (porcelain).

American usage of terms in con- nection with china, al though com- parable to that of the English, is different from that of France and other foreign countries. I explain this because a great deal of imported ware is being used by china painters. Since hobbvists use the word "china" in- discr{minately, it is important to know the difference between soft-clay, soft- paste, medium-paste, and hard~-paste ware as specified in the firing guide. It is then a simple matter to make

vour own classifications as to the proper firing temperature. Be par- ticularlv careful in discerning the dif- ference between soft-clay and soft- paste ware. If you. do not do your own potting, it is advisable to ask your supplier what type of ware you have procured from him. Domestic ware varies a great deal in composi- tion, as does imported china. Re- membering that the terms "porcelain" and "china" are used interchangeably and also that china-painting materials (metals, lusters, mineral pigments, enamels/ are used to decorate "pot- tery*' (which is often mis-called "china") , we should be careful in classifying ceramic ware according to the character of the clay composition. Instructions for overglaze decorating apply to ceramic ware in general, making no distinction between the different types; our greatest concern, therefore, is to distinguish the types for the purpose of arriving at proper firing temperatures.

Manufacturers include earthenware, a soft pottery, in their productions. Much of the earthenware is made for table service and is often mistakenlv called "china." Because it is inexpen- sive, many beginners in china painting buy plates of earthenware rather than porcelain for their first lessons. The novice thinks of it as being china and does not know that it is verv difficult to fire. It can be very pret- tily decorated if held to a low-firing temperature but overfiring causes a roughness to develop in the glaze which then appears to have been cov- ered with a sprinkling of salt. Since the use of earthenware for china painting is quite common, I explain this as a warning to the novice. It is impossible here to include a firing guide for earthenware because of the many grades of composition. The be- ginner will need to experiment. No piece of earthenware can be fired higher than cone 019 for the over- glaze decoration and some will not stand inore than cone 022.

No matter what tim clay composi- tion is. an opaque body is'considered

(Please turn to Page 28)

CERAMICS MONTHLY

u e s t g o n s c o n d u c t e d b y K E N S M I T H

Q. Can you suggest a technique which wou ld enable me to "'see what I am doing" when I apply a gold decoration to a black-glazed piece o[ ware? I t is almost impossible, on this black background, to see the gold as you apply it.

A. Th i s is a difficult p rob lem to solve and the only sug- gest ion I can offer is to work in s t rong dayl igh t or u n d e r a f luorescent l amp pulled down as close to your work as possible. Hold the piece at such an angle as to ca tch the reflection of the l ight on the area being decorated. T he re will be a sl ight diff- erence in reflection f rom the surface of the gold as you apply it. Th i s m a y be enough to enable you to comple te your decora- t ion satisfactorily.

Q. W h y does a glaze that is supposed to be glossy some- t imes come out of the kiln dull and pow dery looking?

A. T h e glaze never m e l t e d - - i t jus t wasn ' t fired to a h igh enough tempera ture ! You can pu t the same piece back in the kiln and retire it.

Q. W h a t causes horizontal lines to appear sometinzes on cast pieces?

A. Radia l , horizontal lines are invar iably caused by inter- rupt ions du r ing the filling of the mold with cas t ing slip. For example, if you fill a mold ha l fway and then s top m o m e n t a r i l y before con t inu ing to fill the mold completely , there will be a definite line at the place you s topped. These lines are more p ronounced if the slip is not proper ly def locculated and seems to be sticky or ropey.

Q. I have a small, one-piece, ash-tray mold with a very deep well and have a great deal o[ di f f iculty get t ing success[ul castings [rorn it. I ha~,e dusted it wi th talc and also tried damp- ening the mold lightly.

A. Small, one-piece molds with deep wells can prove very troublesome. You should be able to get good cast ings f rom it. however, if the mold has no unde rcu t s and if the plaster has been properly prepared.

If this is a commercia l mold m a d e by a reliable mold maker, the difficulty should not be in the mold itself. T h e slip may not be proper ly def locculated and m a y conta in too m u c h water.

If you make your own molds, a p las ter ba tch is somet imes not properly prepared, p roduc ing a mold with " h a r d and soft spots," which gives unequa l absorpt ion and produces difficulty in removing cast pieces.

One th ing you migh t try as a r emedy is to allow the cast piece, af ter dra ining, to dry in the mold and shr ink away f rom the walls.

Q. W h a t causes pinholes in a glaze covering an underglaze decoration?

A. Underg lazes will give off gases in the kiln. If the covering glaze is qui te viscous, or if the piece is fired too quickly, the gases m a y remain in the glaze in the form of t iny bubbles or pinholes. T ry slowing down your f i r ing cycle, par t icu la r ly toward the end of the firing. If the pinholes still persist , it m i g h t be advisable to bisque fire the piece af ter the underg laze has been applied; then glaze and retire.

All subscriber inquiries are given individual attention at CM; and, I out of the many received, those of general interest are selected

I for answer in this column. Direct your inquiries to the Questions Editor; please enclose a stamped self-addressed envelope.

Acclaimed Everywhere by Teachers and Professionals for Performance!

This Nat ional ly Recognized Power-Dr iven Precision Wheel only $57 .50

(Shipped complete, Less Motor)

Ideal for school, studio, home use . . . The famous B & I

Pottery Maker, first in the field, is sti l l f i rs t in value and in price! Simple operation, rugged construction, with al l t h e

versatility required by professional workers] Man,/ built-in features , . . A D J U S T A B L E a rm rests; B U I L T - I N water con- fainer; VARIABLE speed drive; QUIET bronze and babbit bearings: ADJUSTABLE foot-pedal control; UNUSUAL size range. Before you buy, Write B & I . . . get full, free details; Point- by-polnf, we challenge comparison on QUALITY features. . . Our price is still the best in the field! B & I Pottery Maker shipped complete, less motor, f.o.b. factory, Burlington, Wisconsin, for only $57.50.

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

I!1 Delta manufactures the most camp,ere line of [ brushes for every ceramic use. From banding, lettering and glazing fo i~ | clay trimming, dusting charcoal and sweeping the kiln. there is a specific brush designed to do a specific job. Your best efforts deserve the finest tools. For the ceramist this means . . . .

b r u s h e s b y d e l t a

Write today for your copy of "Ceramic Brushes - their selection, u s e a n d

care" by Carol Janewoy. Send 1Sc in coin or stamps.

mfg. corp., 119 bleecker st., new york 12, n. y.

J U N E , 1956 27

The potte, Wheel Boston Post Road

Westport Southport Line Westport, Conn.

Copper Enameling Supplies D e a l e r I n q u i r i e s I n v i t e d

M O L D S m a n u f a c t u r e d i n

O H I O Send for our NEW FREE mold cata- log. Dealer inquiries invited.

C r a m e r M o l d s 20 years experience in mold making

746 Cherry St. Fosforia, Ohio

r m m m m m m m i ~ SAVE 40%

I W H I T E C H I N A I I Sl'ght irregularities. Excellent for decorating. I " POTTERY CRAFTS " L 'O2'£orfhern Blvd., RimmoslYnlmN.Y. U

SPUN COPPER BOWLS, frays or cups. Also--stamped circles or squares, plain or slotted, for belts and links. Also--card, match or cigarette boxes. The Old Viking Shop, 1236 Delaware Street, Denver 4, Colorado.

IMPORTED CHINA SUPPLIES CORRESPONDENCE COURSES

Write for Free Catalogue

C A M P A N A A R T C O . 442 N. Wells St. --Chicago 10, III.

mw, 2 •

l S U P P L Y I ~ O M P A N Y LID Midwesf's Largest and Most Cam- ~> plete Supply House of Clavs Glazes.

Chemicals, Molds, and l!quipmenf. ]]~ Discounts available to Dealers,

Manufacturers and Schools.

~17 [ Write Dept. 12A for I [ Illustrated Catelogu . . . . . . . . . S0C I

~> | Refunded on first o r d e r ~ I Catalogue sent to schools Free

1248 South Broadway Denver 10, Colora

O v e r g l a z e : F i r i n g G u i d e (Begins on Page 26)

to be pottery, and translucent ware (paste compositions) to be porcelain, in correct present-day usage of the terms. We know that the glaze coat- ing should be of compatible proper- ties in order to fit the body at least if used for china painting. Consider- able china painting is done on bisque ware (semi-porcelain and porcelain) and such objects should be classified for the firing temperature the same as though they were glazed.

In the following firing guide, based on the type of ware being decorated, there are four principle categories-- soft - clay, soft - paste, medium - paste, and hard-paste ware.

S O F T C L A Y W A R E (opaque) When firing soft art bodies (cone

06 hobby clay), other comparable opaque ware, and crackle ware such as Satsuma, the finishing temperature should be cone 019 (1166°F.). An overfiring past this degree of heat will give various unsatisfactory results, as follows :

Metals will crackle, slur, and be- come dull. This will not happen so quickly or to such a great degree when the proper form of unfluxed metal is used. The fluxed metals (such as Roman gold in paste form) will crackle very fast on soft ware. There is sufficient flux in the soft glaze covering to receive the unfluxed metal at the time of the correct ma- turing temperature - - not over cone 019.

Lusters will become frosty or will crystallize with overfiring. Lusters are very beautiful on soft-clay ware when held to the proper tempera ture ;o ther - wise the effect is apt to be that of a colored-but-quite-dull frosty window- pane. An exception to this particular fault is that sometimes the dark- colored lusters (metal lusters such as copper and ruby) , which are heavier in consistency than the pearl lusters, may act more like the pure metals and crackle rather than frost. There is no remedy for any of these defects so be very cautious in controlling the finishing temperature of lusters on soft-clay ware.

Vitri/iable mineral colors (which many individuals think mnst be fired to cone 018 for maturi ty) will be in full color and bright at cone 019 on soft-clay, ware. A higher temperature will cause the pigment to sink into the glaze to such a degree that much intensity and purity of color will be lost. This condition, however, can be remedied by retouching and re-firing to cone 019. The matt colors will be- come glossy when overtired.

(Please turn to Page 32)

M o l d f o r S o l i d C a s t i n g (Begins on Page 24) ]

ing the slip; otherwise, the slip may raise the top half of the mold and then run out the mold seam.

REMOVING T I l E C A S T I N G : It takes a bit of experimenting with each solid-cast mold to know just when the form has cast solidly. When the spare is solid, however, it is safe to assnme that the rest of the form is solid, too---providing the entry was not made too small and that it was placed correctly at the thickest portion of the form. If the spare should be- come solid but the form not. then the

entry needs to be enlarged (still inain- raining the taper from inside to out- side).

The cast form may lift off the hump readily, but if the hump is a rather steep one, it may be necessary to turn the mold-half over and tap the parting surface on the edge of a table, making the casting drop into the hand. In the case of a heavier, larger piece, it is sometimes well to leave it in the back half of the mold after cutting off the spare. Do not leave it over the hump for it m a y crack from shrinkage as it dries. If, however, the cast will not release from the hump so it can be left in the back half of the mold, put some small clay balls or pieces of plaster between the parting faces of the mold hah'es and leave the mold with the slip entry down. Then, as the casting begins to dry, it should drop off the hump into the back where it can continue to dry safely. If the cast should prove really troublesome in clinging to the hump, try dusting the hump with talc or flint (blowing off excess) before pour- ing in slip.

Any mark left from cutting off the spare can be cleaned off easily when the casting is dry. Grind the area in a bit of water on a slab of smooth glass; for faster grinding, use a piece of glass with small ridges; or clean the piece when dry on a bit of win- dow screening. Clean the seam flash- ings from the casting at either the leather-hard or dry stage - - sponge lightly. •

28 CERAMICS MONTHLY

Suggestions from Our Reoders (Begins on Page 9)

MOLD.MODEL MARKER When making a mold, a

quick way to mark the un- dercut line of a symmetrical piece is to stretch a rubber band around the center of the piece. This can then be traced around carefully with a sharp-pointed pencil.

- -Bim and Doris Newman Levittown, N. Y.

SYSTEM FOR SLABS It can be difficult to

maneuver extremely thin slabs of clay without tearing or otherwise distorting them. A method I have worked out, virtually foolproof, is as fol- lows :

I roll out the very thin slab on a piece of cheese- cloth. The desired shape is made by running a knife or pointed tool through the clay and the cheesecloth is cut with a pair of scissors. The thin slab of clay and the cheesecloth are then picked up together; in fact, they stay together even in the kiln.

This backing of cheese- cloth keeps the slap intact and .~urns out in the kiln without any ill effects. Of course, it leaves its mark on the surface of the clay, mak- ing this method useable only where a textured surface would not be objectionable.

- -Mrs . Donald Davis Lorain, Ohio

STIRRING STICKS Tongue depressers (t h e

wooden type often used by doctors), if split in half lengthwise, are excellent for stirring ingredients in small jars. I keep a large supply handy and use a separate one for each color. When I finish the work at hand, I wash them and they are ready for use again. They are inexpen- sive and last indefinitely.

--Marion Holden Van Nuys, Calif.

HOLLOWING ELIMINATED In teaching the modeling

of animals and other "solid" shapes, I found that many

hobbyists ruin a piece when they attempt to hollow it out. The following idea has proven very successful.

Make an armature by twisting and shaping news- paper, then tying it with twine to hold the shape. Build the clay piece around the newspaper armature and for- get it is there! When the piece dries, it will shrink (and compress the newspap- er) without producing cracks in the clay walls. An air hole cut in the clay piece will allow gases to escape from the inside.

The piece is fired, news- paper and all, without any ill effects. Sometimes a .small amount of white ash is left which can easily be poured out of the vent.

It is surprising how sturdy newspaper can be even in legs of animals: if the paper is rolled tightly and tied with string or thread, the legs will be capable of holding up a clay body.

- -Hazel A. Schrunk Sioux City, Iowa

DUSTLESS GROG There are many ways to

make grog; however, I like this method best: simply

grate a lump of plastic clay of the consistency of cheese on an ordinary, fine kitchen- grater. Fired in bisque pots, it makes very uniform grog.

This is the easiest grog- making method I know of in- asmuch as it eliminates screen- ing and produces practically no dust.

--Hermine A. Secretan Washington, D. C.

WHERE'S YOURS??? --Suggestions, that is. CM pays from $1 ÷o $5 for each item accepted; so mail yours today! Send them to Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio.

For Your Library....

AVAILABLE THROUGH THE

BOOK DEPARTMENT Never before has the subjec t of glazes been t r ea ted so

completely in a single volume. The 314 p a g e s of technical t ex t covers glaze mak ing f r o m the g r o u n d up, s t a r t i n g wi th a ca re fu l d iscussion of the r aw mater ia l s . A l ready in i ts second pr in t ing , the book is an invaluable teaching, learn- ing and re fe rence source for advanced hobby pot ters , ser- ious s tudents , t eacher s and profess iona l pot ters .

The ch ap t e r headings more than adequate ly describe the con ten t s : Definition of G l a z e s - - G l a z e M a t e r i a l s - - C a l c u l a t i o n s - - Mixing and Mill ing - - Appl ica t ion - - Conversion of the Batch to the Glaze - - Leadless Glazes - - F r i t t ed G l a z e s - Raw-Lead Glazes - - Engobes , Slips, and Unders l ips - - Underg lazes and Overglaze Colors - - Glaze Defects .

In addi t ion to the theore t ica l and technical contents , the t ex t includes specific empir ical fo rmulas and batch recipes fo r glazes - - r a w and f r i t t e d ; h igh and low temp- e r a t u r e ; glossy and m a t ; c rys ta l l ine ; aven tu r ine ; etc.

This handsomely bound book conta ins e ight pages of c ross - re fe renced index, add ing immeasu rab ly to i ts value as a source of reference .

Price $8.00 (we pay postage)

ORDER FORM Ceramics Monthly Book Department

4175 N. High S t . Columbus, Ohio Yes, please send me a copy of CERAMIC GLAZES

N A M E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

A D D R E S S . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

C i t y . . . . . . . . . . . . . . . . . . S t a t e . . . . . . . . . . .

[] I enclose remittance of $8.00 (Ohio add 3% Sales Tax)

JUNE, 1956 29

C E R A M A S T O N E jewelry mix . . . . a self-glazing clay

Add wafer to this magic mud--hand model into earrings, cuff links, pendants, pins, beads, buttons, belts! Fire only once at cone 0b. Open your kiln to find beautifully glazed ceramic stones. Used by potters and instructors in all forfy-elght States. Ideal for schools and occupational therapy.

Nine dramatic colors: DARK BLUE, TURQUOISE, CHARTREUSE, GUNMET- AL, WHITE, BEIGE PINK, PURPLE, SPRING YELLOW & BROWN. Send $1.00 for generous I/2-pound portion of one color plus instructions for mixing and firing. Postpaid within Conf. U.S. Colo. Res. add 2% sales tax. Specify colors when ordering.

NEW ~ HANDBOOK OF JEWELRY MAKING & DESIGN featuring CER- AMASTONE. 20 pages of instructions and designs! $1.00 postpaid.

SPECIAL--Free Copy of HANDBOOK wlfh $5.00 order for 5 I/2-pound portions of CERAMASTONE. Specify colors.

Joan and Conrad Wilson

The Pottery Workshop Cripple Creek, Colorado

Send 25c for C E R A M I C C A T A L O G - M A N - U A L . Complete source of supply for kilns, clays, g lazes , enamel ing supplies , tools, etc. F R E E Instruct ion Literature .

Pro[essional sfoff of long experience TEPPING STUDIO SUPPLY CO.

3517 Riverside Drive • D a y t o n 5, Ohio

i Send for oII:=----=-----=~--==~;~;R----EEZ0:;acje Ca;a-lo; and 8-page Supplement.

THE LEHRHAUPT$ P.O. Box 345B, 1000 Wlckapecko Dr.

Asbury Park, N.J.

W i ,u.,ol You can make extra dollars by sellin single copies of CERAMICS MONTHLY and taking subscriptions on o commission basis. WRITE to: Circulation Dept.

l Ceramics Monthly i L41. .. High St. . Columbus. O k i o ~

O V E R F I R I N G BY A C C I D E N T O R BY I N T E N T I O N

I was working on a pin one day. I t was a rooster, provincia l in style, made out of sterling silver, three- d imensional - - wings spread and a p roud tail. Such a beaut i ful rooster!

I had enameled it with much care and pu t it in the kiln for the last f ir ing when the te lephone rang. I an- swered and had a very pleasant con- versat ion (it must have been a real hen talk) and I forgot all about my poor rooster. Well , when I finally got it out of the kiln it was no rooster any more but a bead! A silver-glass bead! Through overfiring, the silver base and the enamel had uni ted in a lump.

There is nothing much you can do when the result of your overfir ing is an odd shape of meta l and glass ex- cept to r emember it forever as a warn- ing never to answer the telephone when something is in the kiln or, be- fore answering, to take the piece out whether it is done or not. Luckily not all over t i red pieces are beyond repair .

A slight case of overfiring, with only outlines b lur red and no other trouble, can be enameled over and will look as good as new. When, on a piece such as a tray, the enamel has run down and collected in a thick r im a round the edge, it can be ground off with a C a r b o r u n d u m stone, cleaned, f ired and re -enameled wherever necessary.

When the enamel assembles in a puddle at the center of a piece, some- thing can be done about the situation. If you are fond of heavy conglomer- ations of enamel, you can clean the areas where the copper shows and cover them once more with enamel. But if you do not like heavy areas of enamel, there are two other choices. You can ei ther etch the enamel down to the r ight level with hydrof luor ic acid, rinse, fire and then proceed; or you can give up the project and simply retrieve the meta l base. To do this re- trieving, pu t the piece in the kiln until it is red hot, take it out quickly and throw it into cold water. Wai t unti l the small crackling noise of breaking

enamel has died down. T h e n rinse the piece and repeat the whole procedure unti l the meta l is clean enough to be re-used.

There is another type of overfiring. You take a piece out of the kilr~ and expect to see what was pu t i n - - a n art icle covered with an opaque gray. Su rp r i s e - - t he piece emerges navy blue and t ransparent ! But cheer up. When the piece is put back in the kiln for a short t ime (watch it carefully to catch the right moment for taking it ou t ) , it will do you the favor of changing back to approximate ly the original color. Qui te a few of the opaques do that.

Turquoises, grays, ivories can change to a beaut i ful gold tone with over- firing, and white does after it has turned green. Of course, all this is trouble, but not necessarily so. When you know by experience that a not too interesting ivory, for example, can be turned into the most golden gold, why not use that roundabout way when you want such a gold? Or over- fire an opaque gray to get navy blue - - w h i c h is very hard to come by any other way.

There is another way to take ad- vantage of the shimmering but form- less images that come from too much heat. To the surface to be enameled, apply the colors that overfire the n ices t - - l ike light opaques. Fire until the colors change but do not wait until the texture deteriorates. Use the result as background for a precise design. You can obtain stunning results that way. I t is possible, when the design is fired, for some of the opaque colors to r eappear in the background. I f this should happen, do not worry: put the piece back in the kiln and watch it turn t ransparent again. The game is excit ing but worth your while.

T h e mora l of my story is to prevent accidents and avoid spoiling your enamels through negligence. I f you do have a mishap, repair what you can or save the sad r e m n a n t - - t h e base; and utilize wha t you have learned through trial and error to gain control of your technique.

30 CERAMICS MONTHLY

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

HALF CENTURY WITH C H I N A PAINTS: There is scarcely a china painter who does not know the name D. M. Campana for ~f has been one of the most prominent ~n the field for well over half a century. Now in his eighty-fifth year, Dom- enic Campana heads a widely known Chi- cago supply h o u s e which specializes in china-painting mater- lois. He founded the business at the turn of the century, developing his own llne of carats.

Marosfica, Italy, a fawn near Venice, was his birthplace. Working in nearby ceramic factories as a child, he learned to decorate pottery, a skill which brought him ready em- ployment when, in his early twenties, he mi- grated to Amer lca--wl fh fen dollars in his pocket. In a few years he had saved enough money to go back to Venice for training at the Academy di Belle Arf i .

His studies completed, he returned to the United States, immediately esfablishlng a

reputat ion as a china palnfer and teacher of the art in Chicago. His own work was pictorial, in the manner of an oil painting on canvas. Human figures and faces, some- times painted on ouf-slzed china forms rang- ing from plaques two feet in diameter to vases four feet high, were his favorite sub- jects.

" . . . If ~s the strongest work of the kind yet exhibited here," commented the Chicago Tribune in I901. " I t dwarfs pitifully . . . the other f igure subiecfs . . . His brush is broad, his draughtsmanship excellent, his color satis- fying . . ."

His method of painting was to apply the basic colors to be used without detai l and fire the piece at about 1400°F, then aJfer- nafely to add more color and fire until he had the results he wanted. Reds were left until the last so there would be no chance of diminishing the strength of the color through repeated firings.

His energies now are devoted to the busi- ness of suppJying materials for other china painters- -and to distr ibuting his numerous treatises on technique and other phases of the art.

MEET OUR AUTHORS: • Animal whistles brought from Mexico to his children caught Robert (Red) Bussabarg- er's interest and s~ar*ea ~ ,c--/-Yeats wlfh clay whistles of hls own making {see page Ib). A prac- ticing artist and t e a c h e r , Bussa- barger paints and does general de- sign as well as pottery and cera- mic sculpture. "1 do not prefer fo confine my ideas to a limited range of media," he says,

"and occasionally "use whatever material best suits the nature of my des i gn . . . As a teacher I find if to be a challenge to develop the seeds of creative ideas within the art ex- perience of my students. There is always the f ight against mediocrity and shallowness." The young man is a member of the art faculty at the University of Missouri. • James Goltz, whose art icle on the slab technique Donald Mavros uses for pottery (page 12), is a young New Yorker speciallz- mg in writing about arts and crafts. More about Jim can be found in the March issue, p. 34. • Marguerite Montgomery ( introduced in the Apri l issue) is a descendant of and authori ty on the Pennsylvania Dutch (see p.

(Please turn to Page ,?2)

Originality • . • for breakfast serving, a pair of these ducks to hold eggs and one head to hold salt, the other pepper. What could be more original to spark up breakfast? Yes, originality, utility, ex- quisite beauty combine to make every famous Ludwig Schmld Mold. Long lasting molds to guarantee fine cast- ings retaining the minutes÷ details. Ludwig Schmid Molds have proven sales appeal. $I sent for our catalog will be refunded on your first order. If your dealer does not have our molds, write us direct.

# 3 5 7 Combined Egg Cup- -Sa l t & Peooer Shakers

LUDWIG SCHMID model and m01d shop 83g Genesee Street, Trenton 10, N. J.

doppee ENAMELS Opaques -- Transparents

Lumps--Crackles

Hand Painting Enamels

GOLD, PLATINUM AND LUSTERS

FOR DECORATING COPPER ENAMELS

Manufactured in California by

TORRANCE GLASS & COLOR WORKS

22922 South Normandie Torrance, Cal i fornia

JUNE, 1956 31

SUMMER SESSION CHINA

PAINTING Last 2 Weeks

in July

COPPER ENAMELING

1 s÷ 2 Weeks in August

STONEBROOK STUDIO 150 MYRTLE AVE., RAMSEY, N. J.

Write for Information

TO AUTHORS seek ing a publ isher

Send for our free, illustrated booklet titled To the A u t h o r in Search of a Pub l i sher . Tells how we can publish, promote and distribute your book. All subjects considered. New authors welcome. Write today for Booklet C4. It 's free. VANTAGE PRESS, Inc., 120 W. 31 St., N. Y. I

3rd annual

York State Craft Fair August 23-24-25, 1956

Ithaca College, Ithaca, New York Films • Demonstrations • Exhibits

C R A F T S I! P a i n t i n g • B o o k b i n d i n g • E n a m e l i n g 1 S c u l p t u r e * S i l v e r s m i t h i n g • J e w e l r Y l Ceramics • M e t a l w o r k • W e a v i n g l

S i lk S c r e e n • C a b i n e t m a k i n g 1 Men, Women, Day, Eve. Catalog ( ' J

CRAFT STUDENTS LEAGUE YWCA 140 W. 22nd St . , N . Y . C . , CH 3-5747

WATCH FOR OUR ADS! Bigger and Better Things are Coming!

8744 W. McNichols Rd., Detrait 21, Mich. UNiversity 2-9222

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

1953 April, July, August, October, December

1954 February, March, April, July, August, September. November, December

1955 February, March, April, May, July, August, September, October, November, December

1956 February, March. April, May

P l e a s e send remittance (check or m o n e y order) with list of back issues desired.

CERAMICS MONTHLY 4175 N . H i g h S t . Co lumbus , Ohio

Overglaze: Firing Guide (Continued from Page 28)

ETtamels a r e s u b j e c t , h e r e , t o t h e

s a m e r u l e s as t h e m i n c r a l c o l o r s ex - c e p t f o r o n e d i f f e r e n c e : e n a m e l s c a n - n o t be r e - t o u c h e d t o o n l a n v t i m e s o r t h e y w i l l c h i p a n d sca le . I h a v e a d - v i s e d i n m y w r i t i n g s o n e n a m e l s t h a t if m o r e t h a n o n e a p p l i c a t i o n is a n t i c - i p a t e d fo r a r e l i e f d e s i g n it is b e t t e r

f o r t h e f i rs t a p p l i c a t i o n t o be o v e r - f i r ed , t h a n to be i m d e r f i r e d : t h i s as-

s u r e s a g o o d s m o o t h base . H o w e v e r . i f a l u s t e r b a c k g r o u n d h a s b e e n u s e d . t h e p i e c e m u s t n o t be o v e r - f i r e d , so

i t is b e s t to k e e p t h e f i n i s h i n g t e m p e r - a t u r e e x a c t l y a t c o n e 019. T h e c o i n -

p o s i t i o n of e n a m e l s is s u c h t h a t t h e y s h o u l d b e c o m e o n l v f i x e d t o t h e s u r - f a c e fo r a d h e r a n c e a n d n o t s i n k i n t o

t h e b o d y . ( S o f t e n a m e l s m a d e s p e c i - f i c a l l v f o r so f t w a r e m u s t be u s e d . )

(Continued Next Month)

Ceram-Activities (Begins on Page 31)

18). As a ceramist, "Monty" does adapta- tions of the early P. D. style which she ad- mires so much. • Carlton Ball, potter-teacher at the Unl- versify of Southern Illinois. was introduced to CM readers as early as May, 1953 ("A Potter & Painter Collaborate") and present- ed again in June, 1955 (p. 32). Always an innovator, Ball has now come up with a way of firing fall pots in tiny kilns (p. 21).

Potters Pick on Peter Piper: In their printed folder inviting the public to look in on demonstrations over a two-week period last month, the Ceramics Section of The School of Fine and Applied Arts of Ohio State University put the proposition this way: "A pre:enfation of port of the proceduresr prob- lems and pleasures of potting, prepared far participating pupils, practicing potters and iust plain people." P.S. The special spring spectacle shaped up splendidly.

VACATIONERS TAKE NOTE: Craft fairs are a feature ol certain resort areas in eastern U.S.A. The circuiL so far as CM has re- ceived announcements, fakes us first to the Southern Highlands where the annual Crafts- man's Fair at Ashville, N.C. (July 16-20) of- fers "llve" presentations from whlffl~ng to potting as well as "native pretties" to buy. Then swinging up to the Poconos we find the Pennsylvania Guild of Craftsmen's Fair at East Sfroudsburg State Teachers College {July 26-29)l moving over to New Engrand the New Hampshire League's Fair at Gilford (July 3l-Aug. 4), and Vermont's Craft Mar- ket at Shelburne (Aug. 15-17). Finally, in the Finger Lake area of New York State, there is the York State Craft Fair at Ithaca (Aug. 23-25). Watch CM's Itinerary columns far further details.

World's f inest

T I L E S For Decorating

S u p e r b E n g l i s h T i l e s , b i s q u e o r g l a z e d , 6" x 6 " , t h e y ' r e p e r f e c t f o r p l e a s u r e . . . Or" l)t'Ofit,

ALSO AVAILABLE: • TRIVETS, black $ WOODEN

iron, rubber-foot- FRAMES ed, for 1 and 2 @ TILE BACKS and tiles HANGERS

• WROUGHT IRON FRAMES Write for FREE Descriptive

Price LLst .\o. C4

SCRIANO CERAMICS, INC.

L o n g Is land City 5, N. Y.

New" 81/.ff ~ x 11 t ' Monthly Magazime

CHINA DECORATOR in old "Keramie Studio" style, des igns . studies, articles for decorating all ceramics , instructions by artists for beginners, clasps and production lines. All subjects. Send your ideas and advertise your studios and products. Subscription $3.75 per year.

NETTIE E. PILLET 811 B a r r o w s Crt . , P a s a d e n a , Cal i fornia

CERAMIC JEWELRY BOOKLET Baumann's Ceramic Studio, well known for "Unusual*Original Jewelry," has compiled a booklet of patterns and designs for jewelry. This booklet includes proven best sellers. Pro- fusely illustrated. Step-by-step instructions.

Mailed a n y w h e r e - - P p d . $1.50 (3% Sales Tax ~or Ohio residents, please.)

BAUMANN'S CERAMIC STUDIO 580 S. Warren, Tel.: BR 9-5450, Columbus 4, O.

M O L D S only

Molds m Blocks- - Cases made to your design. Our catalog 25c.

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

IN 8 YEARS WE HAVE OUTGROWN OUR SPACE . . . MOVING TO LARGER QUARTERS JUNE 1, 1956.

i "Swedish Modern" : original molds :. and many new numbers.

N o C . O . D . ' s p l e a s e - - 1 0 % pack. charge Catalog 25c new numbers--folder f r e e

Ruth Den ce Laue. Inc. 115-04 J a m a i c a A v e . , J a m a i c a 35, N. Y.

When writing to advertisers please mention CM

32 CERAMICS MONTHLY

3-D Bracelets (Begins on Page 14)

After a thorough cleaning, all the sections are ready for counter- enameling.

7. The links are to he cemented on the backs of the sections composing the top layer of the bracelet, and this must be provided for before enameling. The exact space the links will occupy is, therefore, measured off carefully, and the areas to be left bare are covered with wet paper friskets cut to exact measure.

T h e backs of all the sections are now counterenameled. Where there are holes, the enamel is cleaned off the outer edges to prevent chipping when the links rub. A medium-fusing enamel is used since the parts are to go through several firings; and the color, of course, is compatible with the color scheme to be used on the top side. The rest of the enameling proceeds according to the design plan. When finished, all rims or edges are stoned well back as another pre- caution against chipping.

The links, each composed of a narrow strip of 20-gauge copper about 7/8-inch long and 3/16- inch wide, are prepared in much the same way as the sections. The strips are placed in the vice, several at a time, and filed smooth; all are planished on both sides and polished with steel wool. Each strip is then held against a sharp metal edge and bent into link shape with a hammer (see sketch). Hooks for the clasp are made the same way.

As each set of links is about to be soldered in place, an under-layer see-

tion is "tried on" to insure accurate placement.

8. The bracelet is assembled. Links are made secure by pressing them

down on either side; hooks are flatten- ed a little. A safety chain is at tached with tiny jump rings as a precaution against the bracelet's being dropped while being closed with the hooks.

When worn (see page 15), the bracelet stays in place on the forearm and, because of the arched shape of the under layer, it clasps the a]xn snugly and securely. Standing out, the top sections add to the dimensional feeling of the piece.

These three-dimensional bracelets that I am so fond of cannot, by the way, be laid out flat once they are assembled. When stored away, they must be left standing or hung on a hook; and this brings me to a prac- tical household tip a peg board with hooks makes the most attractive rack for storing (and displaying) enameled necklaces and bracelets, including the three-dimensional type! •

Donald Mavros' Way with Pottery (Begins on Page 12)

off. You can develop the decoration further by the sgraffito method once the slip has dried enough so that it will not rub off: using a pointed tool, simply scratch through the slip to the clay body.

Another form of decoration is based on the Japanese mishima. This is done by cutting out the design directly in the clay and filling in the space with a slip (or engobe) of a different color.

One of Mavros ' favorite devices for achieving decorative effect is through using red grog in a white clay body to produce texture and color interest. He fires it, usually, to cone 06 and glazes with a milky white glaze. The glaze is not applied heavily for it runs; and, over it, he decorates with underglazes in the majolica technique. This type of decorating is done in an extremely loose pattern. There is enough gum in the glaze to prevent its being brushed off while the design is being applied.

It is then fired to cone 03. Mavros ' potteiy was given its first

exclusive showing at a New York gal- lery when he was 18 years old, and has since been shown in many mus- eums and exhibitions, including the Ceramic National at Syracuse, the an- nual ceramics exhibition at Miami, and national shows at New York's Cooper Union, Hol land House and America House as well as Brooklyn Museum.

He manipulates his clay with an open mind. And he works with each object to obtain a new glaze, a new decoration, a new movement .

"My most satisfying moment ," he says, smiling, "is when I open the kiln and see another experiment suc- cessfully realized. Tha t moment can- not be equated in terms of time or effort. To feel a piece of pottery has been lifted to its deserved level as a work of art is the greatest reward." •

June, 1956

American Beauty Ceramics . . . . . . . . . . 24

B a n d I M f g . C o . . . . . . . . . . . . . . . . . . . . 27

Basch, Bee, Designs . . . . . . . . . . . . . . . . . 25 B a t t l e s Photoceramic Decals . . . . . . . . . . 26

Baumann's Ceramic Studio . . . . . . . . . . . 32

Bergen A r t s & C r a f t s . . . . . . . . . . . . . . . . 2

Campana A r t C o . . . . . . . . . . . . . . . . . . . 28

Carmel Work Center, Inc . . . . . . . . . . . . 26

Ceramichrome Laboratories . . . . . . . . . . 1

Copper Cat Inc . . . . . . . . . . . . . . . . . . . . . S

Craft Students League Y W C A . . . . . . . 32

C r a f t o o t s , Inc . . . . . . . . . . . . . . . . . . . . . . . 2

C r a m e r M o l d s . . . . . . . . . . . . . . . . . . . . . . 28

D e l t a Brush M f g . C a r p . . . . . . . . . . . . . . . 27

Detroit Fabricating C o r p . . . . . . . . . . . . 25

Duncan Ceramic Products, Inc . . . . . . . . 7

H a i l a m S t u d i o . . . . . . . . . . . . . . . . . . . . . . 24

Harris, Charles, C o . . . . . . . . . . . . . . . . . 26

Harrison, the Kay, Studios . . . . . . . . . . . 32

Holland Mold Shop . . . . . . . . . . . . . . . . . 7

H o m m e l , O. , C o . . . . . . . . . . . . . . . . . . . . 9

House of Ceramics . . . . . . . . . . . . . . . . . 5

I l l ln i Ceramic Service . . . . . . . . . . . . . . . 26

L and L Mfg. Co . . . . . . . . . . . . . . . . . . . 1 Lauer, Ruth D., Inc . . . . . . . . . . . . . . . . 32

Lehrhaupfs, the . . . . . . . . . . . . . . . . . . . . 30

Maryland China Company . . . . . . . . . . . 24

Master Mechanic Mfg. Co . . . . . . . . . . . 10

Mayco Colors, Inc . . . . . . . . . . . . . . . . . . . S

Model Ceramics, Jnc . . . . . . . . . . . . . . . . . B

Norwesf Novelty Ca . . . . . . . . . . . . . . . 24

O l d Viking Shop, the . . . . . . . . . . . . . . . . 28

OJevla Ceramics . . . . . . . . . . . . . . . . . . . . 2 4

Paragon industries . . . . . . . . . . . . . . . . . . 4 Pieper Pottery . . . . . . . . . . . . . . . . . . . . . . 32 Pillet, Nettle E . . . . . . . . . . . . . . . . . . . . . . 32

Potter's Wheel, the . . . . . . . . . . . . . . . . . . 28

Pottery C r a f t s . . . . . . . . . . . . . . . . . . . . 28

Pottery Workshop, the . . . . . . . . . . . . . . 30

Re-Ward . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Roder Ceramic Studio . . . . . . . . . . . . . . . 2 4

Rovin Ceramics . . . . . . . . . . . . . . . . . . . . 7

Sahuara Molds . . . . . . . . . . . . . . . . . . . . 24 Schmld, Ludwig, Molds . . . . . . . . . . . . . . 31 Seeley's Ceramic Service . . . . . . . . . 26 Snead, Jane, Ceramic Studio . . . . . . 6

Soriano Ceramics, Inc . . . . . . . . . . . . . . . 32

Specialized Ceramics Corp . . . . . . . . . . . 10

Stonebrook Studio . . . . . . . . . . . . . . . . . 32

Tepplng Studio Supply Co . . . . . . . . . . . 30 Thompson, Thomas C., Co . . . . . . . . . . . 10

Torrance Glass & Color Works . . . . . . . . 31

Trinity Ceramic Supply . . . . . . . . . . . . . 26

Van Howe Ceramic Supply C o . . . . . . . . 28

Vantage Press, Inc . . . . . . . . . . . . . . . . . . . 32

Ward, S. Paul. Inc . . . . . . . . . . . . . . . . . 2

Willoughby Studio . . . . . . . . . . . . . . . . . 6

W i l t o n P o t t e r y . . . . . . . . . . . . . . . . . . . . . . 26

York State Craft F a i r . . . . . . . . . . . . . . . 32

JUNE, 1956 33

NEW BOOK

a h a n d b o o k o n

~ ~ j ~ . S.l~Cl~O~. . ~.~.~s'~, Ki~°~

The ar t ic les on copper e n a m e l i n g by J e a n O ' H a r a

and by Jo Reber t a p p e a r i n g i n CM s ince J u n e 1954 have

been proc la imed the bes t in bas ie '~ ins t ruc t ion . Twen ty -

one of these ar t ic les , r e p r e s e n t i n g basic f u n d a m e n t a l s as

well as i l l u s t r a t ed how- to-do- i t s on jewelry , have now

been combined in book form • a n d ~a re fu l ly indexed. . . . . .

The pub l i she r s a r e proud: to p resen t th i s m a t e r i a l

under one cover as a Service to teachers , hobbyis t s , a n d ,

s tuden t s . The s t ep - by - s t ep p ro jec t s in th is volume m a k e

it a n excel lent work i ag . , handbook ; the text and de ta i l ed

i.udex m a k e i ~ a ~ ~a|uaide~ s o u r c e of r e fe rence .

C E R A M I C S M O N T H L Y B O O K D E P T .

4175 N . H I G H S T . , C O L U M B U S , O H I O

Please send me . . . . . . copies of the C O P P E R E N A M E L I N G Handbook

@ $2 pe r copy. (CM pays pos t age ) .

N A M E

A D D R E S S

CITY Z N S T A T E

Ohio Res iden t s : add 6c Sales T a x per copy.

I enclose Check Money o r d e r . . . . . . . . . . . . . . O t h e r 1

COPPER ENAMELING

~gt.~kt.g C O N T E N T S

Let ' s Get S t a r t e d •

Tools and E q u i p m e n t

All About the E n a m e l s

S i f t and Stenci l Method

Wet In lay Method

Gold and Si lver Foi l

How to G e t S p e c i a l Effec ts

Defec t s Causes and Cures

D e s i g n i n g with Bi t s of Foi l

M o d e r n Cloisonne

Lines for Des igns

~q.~ , ~ ~,, ~ ov'~t'~

Coppe r -Wi re Accen t s

F i t t e d Necklaces

Wi re l e s s Cloisonne

Jewe l s f rom Broken Glass

J e w e l s P l u s Foi l

P laques for Compac t s

Mobile E a r r i n g s

S imple Link Brace le t s

3-D B r a c e l e t s

Pieces Make L a r g e P l aques

Index

P INS ~RU C. TJOH

ORDER TODAY Dealers Write for Information