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begins w i t h . . . R E W A R D - H A R T o o o o P R O D U C T S o o o o R E W A R D C E R A M I C C O L O R M F R S . , I N C .

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C e r a m i c C a t a l o g ~maco has proudly entered its i f t i e th year of service to schools, ; t ud ios a n d i n s t i t u t i o n s . 1969 ;ees the i n t r o d u c t i o n of new prin- :iples of design in our electric i i lns, mu l t i p l e l ist ings wi th both Underwriters ' Laboratories , Inc. md Canad ian S tandards Associ- ! t ion, and m a n y o ther innova- : i o n s . H e l p us c e l e b r a t e o u r 3olden Anniversary. Send today ~or your free copy of the Amaco [969 Pot te ry and Metal Enamel - ing Catalog.

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M O N T H L Y

Volume 17, Number 1 January 1969

Le t t e r s to the Ed i to r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

A n s w e r s to Ques t ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

I t i n e r a r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Coil ing a Po t in a Po t by Don Cyr . . . . . . . . . . . . . . . . . . . . 12

News Po t s by E. D. Tay lo r . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The 25th Ceramic N a t i o n a l Exh ib i t i on . . . . . . . . . . . . . . . . 19

A P a r l i a m e n t of Owls b y Roge r D. B o n h a m . . . . . . . . . . . . 23

C a s t i n g wi th Glass by E r n e s t W. P o l l m a n . . . . . . . . . . . . 26

Combin ing E n a m e l e d Copper and Wood

by Pol ly R o t h e n b e r g . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Ash Glazes for Cone 6 by R icha rd Beh rens . . . . . . . . . . . 31

Ce ramAc t iv i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

New Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Index to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

On Our Cover

The first showing in the new Everson Museum of Art, whose east entrance is pictured on this month 's cover, is the twenty- fifth anniversary exhibition of the Ceramic National. The show opened on November 24 and continues through January 5 in the lower gallery of the building designed by architect I.M. Pei. An article on " the Syracuse Show," starting on page 19 of this issue, features an evaluation of the exhibition by Museum Director Max Sullivan and pictures some of the prize-winning pieces that will be seen on the two-year circuit of the travel- ing show.

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAOER

Business Manager: SPENCER L. DAVXS

Circulation Manager: MARY RUSHLEY

Editorial Assistant: CONNIE BELCHER

Advisers and Special Contributors: F. Carlton Ball; Richard Behrens; Kathe Berl; Edrls Eekhardt ; Zena Holst; John Kenny; Karl Martz; Ken Smith; Don Wood.

Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: TR7-7556, Area Code 213.

Copyright 1969 Pro[essional Publications, Inc.

Ceramics Monthly J a n u a r y 1969, Vol. 17 - - No. 1. Published monthly except Ju ly and Augus t by Professional Publications, Inc. - - S. L. Davis, Pres. , P. S. Emery, Sec.; a t 4175 N. High Street, Columbus, Ohio 43214. Second class postage paid at Athens, Ohio, U.S.A. Subscriptions: One year $6; Two years $10; Three years $14. Copyright 1969. All r ights reserved. The articles in each issue of Ceramics Monthly are indexed in The Readers ' Guide to Periodical Literature. Microfilm copies are available to subscribers f rom Univers i ty Microfilms, 313 N. F i r s t St., Ann Arbor, Michigan. Manuscripts and illustrations deal ing with ceramic a r t activities are welcome and will be considered for publication. Manu- scripts should be typed double-spaced and range f rom 500 to 2000 words. Send manuscr ip ts and correspondence about them to the Editor, Ceramics Monthly, 4176 N. High Street, Columbus, Ohio 43214.

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NAME

ADDRESS

CITY. _ _ STATE ZIP___ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

]anuary 1969 5

For The Discriminating Ceramist ;~ ~ ~ MODEL A-99B :~

Fire immense loads daily This enormous 10 sided kiln is 27" deep and 23¾" in diameter for a full 7 cubic feet of firing capacity. Fast firing and fast cooling allows you to fire immense loads daily. The three movable sections have their own 4-way switches and pilot lights. Use the three sections to fire your tallest lamps or top and bottom sections for many small pieces. Fires to cone 6 - - 2 3 0 0 °, everything from china paints to porcelain. Add a 4~/~" blank collar for full 31Y2" depth.

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IT MAY NOT BE BEAUTIFUL, BUT IT'S A FANTASTIC BUY. There are other pot- 1 . . . . . tar's wheels available at lower prices than the Robert Brant Model A, but none offer all of the necessary features of this wheel: Full size c a b i n e t , needs no mounting; I/4 horse power motor capable of centering 2S Ibs; ac- celerator foot pedal with integral swifch-- Model A, $139.00 motor turns off when pedal is released; heavy 12" cast aluminum throwing head: all ball bearing construction-- never needs lubrication; 40-150 rpm. It is ready to plug in and use when it arrives and will last for years and years, even in constant use, without wear and without attention. It is the finest low-priced potter's wheel available. Robert Brant Potter's Wheels are only sold direct to the customer. We have simply eliminated the middle man and sell direct at essentially the wholesale price. You cannot get more for your money in a potter's wheel anywhere. Write for our free brochure on the complete line of power and kick wheels, including the new $35 kick wheel kit.

ROBERT BREHT POTTER'S WHEELS 1101 C e d a r St. , S a n t a M o n l c a , C a l i f . 9040S

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6 Ceramics Monthly

7 I I for dealers . / ~ . , ~ , i on ly

. . . . . . . . . . .

This a t t rac t i ve heavy-w i re magaz ine d isp lay rack is suppl ied free to every studio sell ing single copies of Ce ramics Month ly . It is pa r t of a " fu l l -serv ice" pro- g ram we offer ce ram ic studios everywhere. Learn more abou t this p r o g r a m now - - send the coupon be low or wr i te on your le t terhead.

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

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

YOUR NAME

STUDIO

ADDRESS

CITY/STATE/ZIP

LETTERS Share your thoughts wi th other C M read- e r s - -be they quip, query, c o m m e n t or ad- vice. Al l letters must be signed, but names will be wi thhe ld on request. Address: The Editor, Ceramics Mon th l y , 4175 Nor th High St . , Columbus , Ohio 43214.

THE OUT-OF-ROUND

While renewing my subscription I want to take a few moments to tell you how much I have enjoyed the series of articles by Joel Edwards on relating slab and wheel work ("Wrapped Slab Pots," Sept. '68; "Slab Wrapping and Wheel Throw- ing," Oct. '68; and "The Folded Form," Nov. %8). For several years I have been trying to "loosen up" in my approach to ceramic work, but have been too uncom- fortable with about every technique I've tried. Mr. Edwards' approach to the prob- lem allows me to retain some of my natural bent for symmetry and the round, yet encourages me to investigate the out- of-round, and on the same piece. From my attempts thus far, I believe that it is working. My thanks to this fine potter for sharing his ideas with CM readers.

]. Weaver Toledo, Ohio

CERAMIC HEIGHTS

I first started making pottery in March 1953. At that time our Girl Scout Or- ganization gave us 6 lessons so that we, in turn, could go back to teach the girls how to complete their "Pottery" badge. Under the old "Intermediate" program (10 to 14 yrs.) we had the girls make five items: I. pinch pot, 2. tile, 3. slab piece, 4. coil piece, 5. small figure, plus other require- ments of visiting a potter and learning the process of firing, etc. Our new "Cadette" program, although it has now only nine "requirements" to earn the badge, is more complete than when we had a "choice" of 8 requirements out of 14 items listed.

Since 1953, then. not only the Scouts, but their Leaders (and parents) became exposed to "ceramics"--so much so that I believe we now have over 15 kilns in Cambria Heights (a community of 4.000 homes). We laughingly said we should change the name to "Ceramic Heights"!

Alice M. Bertalot Cambria Heights, N.Y.

VERY HELPFUL

I enjoy every part of this magazine and anxiously wait for each new issue. The "Letters" and "Suggestions from Readers" have been very helpful. I would like to see more on the subjects of sculpture, glazing, and decorating.

Mrs. Charles A r n o l d Minneapolis, Minn.

CONTINUE AROUND THE WORLD

I enjoy CM and would like to see more articles about - -and illustrations of--work by the great art potters of today. Also would like to see many pictures of pieces accepted for the Ceramic National Exhibi- tion at Syracuse, and an article on how

Con t inued on Page 35

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] a n u a r y 1 9 6 9 7

Answers to

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

In glazing the inside of tall narrow-necked vases, I can't seem to fill the form with glaze and then get it out fast enough

to avoid building up too heavy a coating. In some cases, the coating inside has been so thick that it caused the whole piece to split. Is there a recommended way to solve this problem? 1 do want the inside of the pieces glazed! - - Mrs. D.Y.

The glaze used to coat the inside could be thinned con- siderably, thus allowing you to get the glaze in and out of the vase more quickly without building up too much glaze coating on the inside wall. Or, you might use just enough glaze to cover the inside, not fill the whole interior with glaze. Estimate just how much glaze you will need, pour this amount inside, then cover the opening and rotate and shake the vase so that the glaze will cover. I t might take a bit of experimenting to learn the correct amount, but it should solve the problem for you.

How are tiles for mosaic supposed to be cut or broken into smaller shapes? I have been trying to do it with a chisel and

hammer, but the results have been less than successful/ I would appreciate any help you can give me. - - Mrs. D.O.

Best results come from the use of tile cut nippers (or mosaic cutters). These vary in cost from about two to twelve dollars, and are available from hardware stores or mosaic outlets. The nip- pers are used by holding the individual tile by one side, and placing the cutting edges of the tool on the opposite side of the tile, over about ~ inch of the surface. By giving a sharp snip of the cutters, the tile should break cleanly. These small pieces

can be cut to form yet smaller ones. Do not place the whole tile inside the cutter, as this will cause the tile to shatter. You should be able to develop a good degree of accuracy in fractur- ing the cut in the direction you want in order to cut specific shapes. Just hold the cutting edge of the nippers at the angle wanted, then give a sharp pressure to start the fracture.

In glaze formulas I frequently note that a material called " bentonite" is present in a small amount in just about every

recipe. What is this material and why is it used so much? --Mrs. ].H.G.

Bentonite is an extremely plastic natural clay that is de- rived from volcanic ash. I t is mined in Wyoming and South Dakota. Bentonite is added to glaze to help keep the glaze particles in suspension; it is added to "short" clay to give more plasticity. Generally, the addition of about one per cent is adequate for either use. Because bentonite swells when it is wetted, it should be added dry to other dry ingredients, then these should be stirred together before the water is added.

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

Cone 6 2194°F. F i r e a t w i l l .

Cone 06 1816°F.

Ceramichrome takes the worry out of firing. We've demonstrated this with the hand thrown piece o / n o t e d stoneware art potter, Frank Matranga. Finished in our textured glaze, it was fired to Cone 6 along with another original, using the same glaze, fired to Cone 06. Both pieces fired perfectly.

C h o o s e / r o m over 200 ]ully proven glaze and underglaze colors. Each is designed to per /orm perfectly anywhere within this unique firing range. Ceramichrome means outstanding per- /ormance, with the built-in margin of safety.

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MODEL C-26-H $395.00 Fires to 2300°F.; 230 volts, 34- amperes. Inside dimen- sions: 20" x 20" x 25". Has counter-welghted lid.

MODEl C-8-H $ 5 9 5 . 0 0

Fires to 2300°F.: 230 volts, 4-0 amperes. Inside dimen- sions: 26" x 24" x 24". Eight cubic-foot capacity.

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MODEL C-17 $209.50 Fires to 2300°F.; 230 volts, 19 amperes. Inside dimen- sions: 171/2" x 171/2" x 15". Stainless steel jacket. Listed by Underwriters Laboratories.

MODEL A-IS-H $142.50 Fires to 2300°F.; 230 volts. 19 amperes. Inside dimen- sions. IS" x ]5" x 15". Listed by Underwriters Labo- ratories. Inc.

MODEL C-20-H $239.00 Fires to 2300°F.; 230 volts, 22 amperes. Inside dimen- sions: 171/2 " x 171/2 " x 20". Listed by Underwriters Lab- oratories.

SCHOOLS INSTITUTIONS - HOBBYISTS . . . write for free catalog illustrating our full line of quality constructed kilns for ceramics, glass and enameling.

~ J iJ;]8 ~orad~a]e~veSSsoutCh ?M~onteP~CalNforn~i: 9 i|7~ C° ]anuary 1969 9

JOLYON HOFSTED is the Head of the Ceramlcs De- partment at the Brooklyn Mu- seum Art School, Brooklyn, Hew York.

One of the Great Book Buys of the Year. /

Step-by-Step Ceramics by 3olyen Hefsted In this complete introduction to the craft of ceramics, the author leads the beginner through all of the basic clay forming and decorating processes by means of fully-illustrated step-by-step instruction. A select group of projects, all designed for the be- ginner, is presented in an easy-to-follow style, and includes such items as weed holders, trivets, vases, garden lanterns, cream pitchers, hanging lamps, and dinner plates. There are special sections in the book on the Potter's Wheel, Glazing, Firing a Kiln, Building Your Own Kiln, Decorating Techniques, and Raku. There is also a Glossary, a listing of schools and sup- pliers, a section on technical notes, and a Bibliogra- phy included in this useful text. This book will find heavy use in the school field and at home in the ceramic workshop. Large format (81/2" x 12"), with 96 pages . . . a real bargain at only $1.95 per copy postpaid.

Includes 32 pages in Full Colo r

MOSAIC TECHNIQUES New Aspects of

~ C : j Fragmented Design . by Mary Lou

~ ! ~ Str ib l ing

f ' ~ i J ~ W h a t e v e r your ~ ~ c r e a t i v e in ten t , " " ~:~ whether it is dl-

i rected toward func- tional objects for e v e r y d a y use or ambitious works of great size and pro-

tundlty, this book on mosaics is designed to help you achieve your purpose. It is filled with inspiring examples by contem- porary craftsmen to provide you with a glimpse of the tremendous potential of mo- saics as a medium for personal expression.

There are chapters on how to work with clay, polyester resin, fused glass; and in- structions for specific projects. These include jewelry and small functional objects, mosaic clocks, tables, wall inserts, pavings, pools, windows, translucent screens, lighted panels, light fixtures, and lamp bases. Many fasci- nating processes are outlined in chapters on sliced bottles, sand casting, kiln-fired glass, metal-bound fragments, and lighted frames.

This beautiful volume contains 456 "how- to" photographs, diagrams, and mosaic ex- amples in black-and-whlte and full color.

Price: S6.95

CERAMICS a potter's handbook by Glenn C. Nelson

This d e f i n i t i v e book on ceramics has been brought c o m p l e t e l y up-to- date, e x p a n d e d ,

and further illustrated for the use of ama- teurs, professionals, teachers--all who form, kiln-dry, decorate and glaze clay.

As in its previous edition, CERAMICS covers in a practical manner virtually everything about its subject: historical and contemporary ceramics, design concepts, forming techniques, clay, glazes, ceramic chemicals, decoration, and sources of ma- terials and equipment. Not merely a "how- to" guide, the book includes sections (spe- cial equipment, the chemistry of ceramics, and similar sophisticated topics) for the advanced student or the professional.

New to this edition is a chapter on basic design. In addition, there is new material on Japanese ceramics, a new chapter on the construction and operation of kilns, and a new chapter on mass production methods.

From children's camps to college univer- sities, CERAMICS continues to be the most complete and expert aid available to the enjoyment and mastery of ceramics.

Price: $7,50

POTTERY STEP-BY-STEP by Henry Trevor

Th~s unique pot- tery book is a su- perb introduction to the basic methods of making pottery, as well as a valu- able source of ref- erence material on schools, museums, c ra f t associations,

and suppliers. In addition, it contains an inspiring gallery of modern pottery master- pieces. Step-by-step, with the aid of detailed demonstration photos, the author instructs the reader on every stage of pottery mak- ing, from clay to finished pot.

The reference materlal makes this book particularly suitable for library, school, and institutional use. Price: S7.50

m m m m m m m m m m

WE PAY POSTAGE CERAMICS MONTHLY Book Department 4175 N. High St.. Columbus, Ohio 43214 Please send me the following books: [] Step-by-Step Ceramics @ $1.9S [] Mosaic Techniques @ $6.95 [] Pottery Step.by.Step @ S7.50 [] Ceramics @ $7.50

NAME

ADDRESS.

CITY STATE Z I P . _ _ I enclose [] Check [] Money Order

(OMo residents add 4% Sales Tax) m m m m m m m m m m

10 Ceramics Monthly

Send ),our show announcements early: "Where to Show," three months ahead of entry date; "Where to Go," at least six weeks before the opening.

WHERE TO SHOW

CALIFORNIA, NORWALK February 17-March 7 "Cerritos Ce-

ramics Annual-- '69," will be held at the Cerritos College Art Gallery and is open to all artists working in ceramics and ce- ramic sculpture. Jury; Prizes; Jury date is February 1. For prospectus, write: Roland Shutt, Cerritos College, 11110 E. Alondra Blvd., Norwalk 90650.

CALIFORNIA, SACRAMENTO March 15-April 27 "California Crafts

VI, Pacific Dimension," sponsored by the Creative Arts League, is the sixth bien- nial. Open to craftsmen residing in Alaska, California, Hawaii, Oregon, and Washing- ton. All craft media; Slides of work due Jan. 4; Entry fee; Cash and Purchase Awards. For entry forms, write: C C VI, Crocker Art Gallery, 216 O Street, Sac- ramento 95814.

INDIANA, EVANSVILLE February 16-March 16 The Ninth An-

nual Mid-States Craft Exhibition is open to craftsmen living within a 200-mile radius of Evansville and working in the categories of ceramics, glass, enamels, and other handcrafts. Entry fee; Purchase and merit awards; Jury; Entries due January 16-26. Write: Craft Committee, Evans- ville Museum of Arts and Science, 411 S.E. Riverside Dr., Evansville.

NEW YORK~ ROCHESTER April 18-27 Rochester Festival of Re-

ligious Arts is open to all artists; media include enamels and sculpture. Entry fee; Prizes; Jury; Entry cards and work due by March 27. Write: Rochester Festival of Religious Arts, Art Division, 50 Plymouth Ave. N., Rochester 14614.

PENNSYLVANIA, PLYMOUTH MEETING ]anuary 23-26 Third Annual Plymouth

Meeting Mall Art Show is open to pro- fessional artists and students in accredited schools. Media include crafts. Jury; Fee; Entry cards due January 20, work due January 23. Write: Jinx Harris, 148 Con- cord St., Manchester, N.H. 03104.

TENNESSEE, MURFREESBORO February 15-March 15 The Fourth

Mid-South Ceramics and Crafts Exhibi- tion, sponsored by the Middle Tennessee State University Art Department. Entries are due January 20-February 7. Juror will be Scandinavian potter Pravoslav Rada. Open to residents of Alabama, Mississippi, Georgia, Florida, North and South Caro- lina, Virginia, West Virginia, Kentucky,

I T I N E R A R Y Tennessee, Arkansas, and Louisiana. Media include clay, metal and fiber. Purchase and prizes awards. For entry information, write: Lewis D. Snyder, Art Department, Middle Tennessee State University, Murfreesboro 37130.

WISCONSIN, PLATTEVILLE March 2-22 Great Lakes Ceramic Show

is open to student potters from Iowa and all states bordering on the Great Lakes. Cash and purchase awards; Jurors will be Warren McKenzie and Donald Reitz. For

information, write: Student Activities Board, Student Center, Wisconsin State University, Platteville 53818.

SPECIAL FOR HOBBYISTS

ARIZONA, PHOENIX ]anuary M-February 2 Valley of the

Sun Ceramic Association Show will be held at the Del Webb Townhouse. For information, write: Valley of the Sun Ce- ramic Association, P.O. Box 15136, Phoe- nix 85018.

Continued on Page 35

J

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January 1969 11

Coiling a Pot in a Pot by DON CYR

ONE OF THE OLDEST TECHNIQUES of pottery making known to man is that of coiling a rope of clay within some other vessel. According to legend, pottery making began when a woman, seeking to waterproof her basket, applied clay to its inside. When the basket was subse- quently consumed in a fire, it was found that the clay had hardened. The whole of the ceramic adventure was supposedly set off with this accident.

Although the concept of coiling a pot within another form is not original, it does provide the beginner in ceramics with a good introduction to the coil-building techniques. Any plastic, metal, or glazed ceramic bowl may be utilized for this purpose; however, it is important to select a shape that is pleasing to the eyes.

When any form other than a plaster mold is used for a coiling form, a separating material should be used between the clay and the bowl. If this is not done, the fresh clay will adhere to the container sides. When the clay dries, it will shrink and crack. Before you even begin to work with the coils, therefore, line the inside of the bowl with narrow strips of paper toweling to act as a separator between the fresh clay and the sides of the container. Place the strips in the bowl so that they lie flat against the inside surface and overlap just enough so as not to crease or bunch up.

By using paper toweling or some other suitable ma- terial as a separator between the coils of the pot and the inner walls of the container, the paper will adhere to the clay, and the pot will easily pull away from the sides of the form as it dries. The coiled clay bowl can be re-

moved easily and safely by placing a piece of masonite or stiff cardboard across the mouth of the container and inverting both the container and the pot it holds. When the bowl is removed, the coiled pot stands safe on the masonite. The paper strips are easily removed by peeling them, one at a time, from the surface of the freshly- made pot. If the pot is in a good leather-hard condition, the outer surface may be finished off as desired at this time.

Since the inside of the bowl is finished in the process of joining and smoothing out the inner surface of the pot, the decorative possibilities are concentrated on the exterior of the pot. This particular coiling technique of- fers the student many design possibilities. Due to the coil construction, the student can elect to utilize the ar- rangement of the coils themselves as decoration.

By laying the coils in the container form in the usual spiral or circular manner, the pot will display this design on its outer surface when completed. The design of the coil placement will be quite pronounced, providing too much pressure is not applied to the inner surface of the pot while it is being smoothed out.

If the student wishes to take full advantage of the arrangement of coils while constructing the pot, he can create an endless number of designs. By simply varying the positioning of the coils, he can control the exterior designs of the pot. The potential for design is limited only by his ingenuity in setting up the coils.

After the pot is dried and bisqued, glazing may proceed as with any other ware. However, if the student

12 Ceramics Monthly

cU

1. Materials [or this pro)ect are simple ones: a bowl, paper toweling, metal scraper, and sponge.

2. Towling is torn into one-inch-wide strips to serve as separator between bowl and so[t clay.

3. The bowl is lined with the paper strips, which must cover the entire inner sur[ace o[ the container.

4. Coils are rolled [rom the so[t clay and worked into various decorative patterns.

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. . . . . . . . . . . . . ~ ,~g~+.~

--- ~÷• ~" " B R O N g " ) N t ~ t E O 5 @ ~, 7 . ~ . ~ . ~ . . . . . . . . . . ' " •~ . . . . . . ~ . . . . . . . . . .

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January 1969 13

T

5,6 :~

7,8

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5. Coil designs are placed in the bowl and welded seeurely together with the fingers.

7. Masonite square is placed over the bowl and inverted to remove the clay project.

6. Metal rib is utilized to smooth the inside surface of the clay bowl.

8. The outer bowl is lifted off and the paper strips are gently removed from the clay pot.

wishes to emphasize the coil designs of his pot, he should be careful not to apply his glaze too heavily because this will tend to cover delicate surface decoration.

An excellent way to emphasize the surface decora- tion of the pot is first to cover the entire outer surface of the pot with a dark-colored glaze, then use a dampened sponge to remove all surface glaze, leaving glaze only in the crevices of the coil design. The outer surface of the pot is then reglazed with a transparent or clear glaze. When fired, the surface designs are clearly delineated and

14 Ceramics Monthly

enhanced by this glazing technique. Of course, many other solutions could be just as good. A little experimen- tation in placing the coils and in glazing usually proves to be quite intriguing to the student of ceramics.

DON CYR is Associate Professor of Art at Southern Connecticut State College, New Haven. Other CM ar- ticles by Dr. Cyr have appeared in February 1968 ("New Breed of Potters") and May I968 ("Building Clay Heads").

o

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N,:ws pot is made [rom clay slabs press- ed against plaster impressions taken [rom newspaper mats. Mr. Taylor's technique [or making these unique pots is illustrated on the [ollowing three pages.

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1. A newspaper mat is given an even coat o[ clear plastic to make the material impervious to water.

3. Wire coat hangers are imbedded in the inch-thick coat o[ plaster as rein[orcement.

2. Casting plaster is mixed to a creamy consistency and spread over the sur[ace o[ the mat.

4. When the plaster has hardened, the mat is care[ully pulled away ]rom the cast.

1 6 Ceramics Monthly

NEWS POTS (continued)

SEVERAL MONTHS AGO, during a search to obtain a more meaningful surface for some ceramic forms - - something that would more or less supersede mere glazing and relate more profoundly to the "now" in our lives - - I began experimenting with different surface textures that were letter-oriented. In part, this involved using subtractive and additive methods of joining various forms of lettering to a pot form in order to express a particular thought or idea. The results, however, did not produce quite the effect I wanted to express, which was a somewhat more official account of man's activities. Continued searching finally led me to the idea that possibly the daily news- paper could be used in some way, and I turned to the State College, Pa. Centre Daily Times as my source.

From the newspaper I obtained some "mats," or "dub sheets" for my experiments. A newspaper "mat" is a paper fiber form or mold into which lead is poured to produce the plates for printing. Using these paper forms and the "news" they carried, I developed a pro- cess of indirectly transferring this record of man's ac- tivities from the newspaper to the "news pot." Unlike photographic methods of producing images on ceramic forms, in this technique the news item is impressed directly into the clay body itself.

Most pots heretofore have either served some utilitarian purpose of were simply "looked at" but with the process of combining journalism and ceramics to create the news pots, the ceramic forms can literally "be read" and stand as constant reminders of man's activities.

The basic sequence of steps for creating these forms follows: The first requirement is the acquisition of some news mats, and this should be a simple matter because most newspapers discard them, especially the front page and the editorial section.

The dub sheet is prepared for use by spraying an even coating of clear plastic over its surface. This is done to make the fiber form impervious to water and to aid in pulling a clean cast of the letter impressions.

Regular casting plaster is mixed with water to a creamy consistency, and this is applied over the impressed news form that is to be cast. First, the plaster is carefully wiped into the letter impressions, then this is quickly covered with a half-inch layer of plaster.

Working rapidly, some wire coat hangers are placed over the layer of plaster, then covered completely with another half inch of plaster. The purpose of the em- bedded wire is for reinforcement of the plaster press mold that is being made.

When the plaster has hardened (about 15 to 20 minutes), the dub sheet is carefully pulled away from the plaster cast. This cast presents a negative impression of the news sheet. When the cast is dry, all bits of loose plaster are removed from the plaster with a soft brush. If this is not done, small pieces of plaster may become embedded in the clay form and these could cause an explosion in the wall when the piece is fired.

Once the plaster cast is dry and clean, it is ready to

5. When the cast is dry, loose bits o[ plaster are removed with a so[t brush.

6. A clay slab is placed on the cast and pressed firmly to trans[er the impression to the clay.

]anuary 1969 17

7. Stain is sponged over the bisque surface, then cleaned [rom the raised area to emphasize the text.

8. Detail o[ [inished "news pot" shows that the sue[ace literally can bc read.

be used as a press mold. A slab of clay is rolled evenly and the surface smoothed, then it is placed over the plaster mold and pressed firmly against it. When the slab is removed, the clay will have a clear positive im- pression of the original news item.

The slabs made and decorated in this manner may be used in almost any way the individual potter wishes in constructing his news pot. When the news pot is formed and bisque fired, glaze is applied to the inside.

The outside can be treated in any one of a number of ways. The method demonstrated here involves the use of a ceramic stain which is brushed or sponged on the surface. When it is dry, the stain is cleaned from the raised surface with a clean sponge. This produces a good contrast between the surface of the pot and the letter impressions. Raw coloring oxides may be used for different tonal effects. For example, the following formula produces a black stain for Cone 8-10 use: Iron oxide, 10%; Manganese dioxide, 65%; and Cobalt oxide, 25%.

The use of letter impressions in clay is not "new," since its origin dates back many centuries in ceramic history. However, the technique as outlined above has served as a significant point of departure for much of the work I am now doing in ceramics.

[

News pot sur[aces are accented by the use o[ ceramic stains in the letter impressions.

18 Ceramics Monthly

The 25th Ceramic National Exhibition

T~E CERAMIG NATIONAL EXHIBITION opened on November 24 in the lower gallery of the Everson Museum's new- ly-opened building. This year marks the 25th anniversary of this competi- tive exhibition sponsored by the Syra- cuse China Corporation.

The competition was open to all ceramic craftsmen who are permanent residents of the United States. Entries were screened by juries at eight region- al centers before being forwarded to the Everson Museum for the award- ing of prizes and selection of pieces for the circulating exhibition. The members of the national jury were Gervais Reed~ Director of the Henry

Gallery, Seattle, Washington; Fred Bauer, ceramist, also from Seattle; and Toshiko Takaezu, ceramist from Clinton, New Jersey.

Nine hundred potters entered the competition and 288 pieces by 249 artists were accepted after both regional and national ju~,ing. Prize winning artists represent a wide geo- graphical area. California leads the list with eight prize winners and New York is next with five winning artists. Potters from Washington, Ohio, Illi- nois, North Carolina, and Penn- sylvania also received prizes.

In the introduction written for the show catalog, Max Sullivan, Director

of the Everson Museum, said: "The current Ceramic National marks not only the twenty-fifth anniversary of this biennial exhibition, but also its first showing in the new, universally- acclaimed Everson Museum building by I.M. Pei, architect.

"On the twenty-fifth anniversary of the exhibition which was originated in 1932 in memory of Adelaide Alsop Robineau, one cannot but help re- mark on the radical changes which have occurred within the ceramic field during these years. Prize win- ning works of 1968 bear as little re- lationship to the carefully crafted pots of the thirties, as a giant shaped

The 25th Ceramic National is having its first showing (through January 5) in the new Everson Museum building located in the Community Plaza, Syracuse, New York.

2..~"

- - ~ [ [ i i ! i ! i ~ L i i i i i k" [ ! l B i i i m l l i [ l ln l ~ '~ ~ . . . . . . . . . r

January 1969 19

canvas bears to the realistically con- ceived paintings of the American Scene of the 1930s. In this respect, the ceramic artist of today, like all other contemporary artists, reflects the times and the spirit in which he works.

"One's initial reaction to the Twenty-fifth Ceramic National is that it is really a sculpture show; utilitarian pottery as such is barely represented. Individual entries exist as 'one of a kind' works of art. The media, the fact that they are ceramic, seems incidental. Forms are altered and distorted, surfaces painted, clay is combined with other materials. A ceramic entry can appear to be me- tallic, plastic or anything else. Some- times the object actually combines these materials with the clay; in other cases clay itself, glazed or painted, masquerades as other material. As the technical skills required to handle the ceramic media have become master- ed, the expressive quality has been pushed far beyond the limitations of clay. The resulting form no longer has to be true to the material - - to be 'unclay-like' does not automatically eliminate an object as a work of art.

" O n a twenty-fifth anniversary, it is inevitable that one attempts to assess the value of an undertaking such as the Ceramic National . . . . I t seems to be universally a~eed that the major contribution of the Ceramic National has been that, as an open competition, it has provided the op- portunity to introduce the work of unknown artists to a nationwide au- dience. In addition to discovering new talent, it has also presented creative new directions as they have appear- ed on the scene. This has been of primary importance in a field which has been so rapidly changing, par- ticularly during the sixties."

The Ceramic National will be on view in Syracuse through January 5. This year 79 pieces were chosen from the entire show for a two-year travel- ing exhibition. The first scheduled stop on the tour will be Krannert Art Museum, Champaign, Illinois (March 2 - April 6). Other stops will be Kalamazoo, Michigan; Dallas, Texas; Atlanta, Georgia; Allentown, Pennsylvania; Ada, Ohio; Wilming- ton, Delaware; Worcester, Massa- chusetts; and Manchester, New Hampshire. (Pictures continue . . .)

20 Ceramics Monthly

Val. M. Cushing, Al[red, N e w York Covered Jar; stoneware; wheel-thrown; black and aventurine glaze; 13" x 9"

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|

Ka-Kwong Hui, New York, N.Y. Ceramic Form; stoneware; wheel- thrown; red, black and white glaze with gold accent; 22" x 30"

William Wilhelmi, Los Angeles, California IVhitc Earthenware; slab built; transparent glaze over black pencil underglaze: 10" x 14" x 4" Donald Pilchcr,

Philo, Illinois Stoneware Bowl; wheel-thrown and altered; tan and ochre glaze; 15" x 18"

ii

~ : - ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ~ i ~ i ! ~ i i i ~ i i ~ ~i!!i~iiiili~i)i~; ~

January 1969 21

. . . . iii~i!i ̧

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. . . . . . .

Jack Earl, Genoa, Ohio Porcelain; wheel-thrown with m o d c l e d handles; celadon glaze; 17" x I0"

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~ ~i~i i~iiii~!ii~ii~iii~!!!~ill ii~'i~!ii!i .......... ~ : ~ ~ . ~ ~ ~ ~ ~ i ~ i : i~ ~ ) { ~ Mick Lamont, San Francisco, Cali[ornia J-Pot; stoneware; whccl-thrown; ash glaze; 12" x 9"

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Ellamarie Wooley, San Diego, Cali[ornia "'Some Like it Hot" and "'Some Like it Cold," enamel on copper; 22" x 16"

22 Ceramics Monthly

I

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t I

A Parliament of Owls by ROGER D. BONHAM

AN OWL, you would think, is an owl--a spooky, sleepy- eyed creature of the wood, much in evidence around Halloween. But to some ceramic artists, an owl can be

a theme that allows them to use their imagination, creativ- ity, and skill. Such an artist is a young man with the in- triguing name of E1 Jahr. The name, to satisfy your curiosity at once, is Norwegian, and its owner is fi'om the little town of Cross Plains, near Madison, Wisconsin,. And, no, he did not choose his profession to fit his name!

Jahr, an instructor in ceramics at Ohio Dominican College, holds a bachelor's degree in art education and a master's in art from the University of Wisconsin. He taught in elementary and high schools in Illinois before coming to the Dominican College job. Jahr has exhibited and won prizes with his high-fire stoneware in a score of national and regional shows• The prize he's most proud of is the Best of Show Award in the 42nd Annual Designer-Craftsman Exhibition at the Milwaukee Art Center.

The artist enjoys throwing on the wheel, and does well at it. But right now he's immersed in slab work, following three or four themes. His latest interest is large bowls which he fashions over a beach ball. Another theme would be his stylized portrait plaques, utilizing clay for modeling and slip and incising for drawing. Another theme is his amusing owl series.

Ceramic art, Jahr feels, "is largely problem solving • . . it's thinking and following a line of thought to a creative conclusion." Hence the owls. They began as a

series of pen-and-ink "doodles" which Jahr does at odd times, then files for future reference. He liked the first plaques he did, and so continued the series. The result is the little family of owls shown here, just a portion of his production.

The owls are simply done and require a minimum of tools. Jahr usually works on a large piece of coarse

burlap, which can be used to add textural qualities to the finished pieces. He prepares the clay by the Japanese press-wedging technique, ending up with the well-known "bullet" shape.

The potter also has at hand a number of tools--- some of them of the "found" variety--for decorating the plaques. The sharpened point of a painter's brush, a coin, a small stick, a bottle cap, and a dentist's probe have all been utilized to effect. It he decides on an "add-on" technique, he simply rolls out a coil of clay, then pinches off bits and places them where he wishes. Slip, too, is often used in his decoration.

His only standard tool is a bisque stamp for the eyes. He uses this to give unity to the owl series, with the decoration, size and shape of the pieces providing the variety.

Jahr takes a highly creative approach to each plaque. He has little or no preconceived plan of action. His is a very spontaneous technique which depends on how he's thinking and feeling at the time. Also he likes to take advantage of "what happens" as he works.

For example, it is his practice to cut off slices of clay from the "bullet" with a length of cord. When beginning one of his early plaques, he noticed the cord

Surface texture on this owl is the trail left by the cutting cord. Stamped eyes; incised lines for leer; Barnard slip in depressed areas.

For this wide-eyed version, El ]ahr simply pounded the clay out on burlap, then folded the slab over. Result is a pre-textured body.

]anuary 1969 23

J Character o[ thumbed-on "~ decoration was picked up in contour of this piece. *

]ahr makes his own mountings, and sometimes applies decorations for added interest.

Owl was brushed in with Bar- nard slip over a white porcelain background [or this plaque.

Owl design was cut through ,lip, then fired. Barnard was applied in incised lines.

24 Ceramics Monthly

left a textural "trail" across the surface of the moist clay. He decided he liked the effect. All that remained was to make the owl shape, press in the eyes, mark out the feet with the tip of a brush, and sign the piece.

When beginning a larger plaque, Jahr will cut off a slice of clay, then pound it out with his fist. He eschews the guide strips and rolling pin used by many ceramists, since creativity and not uniformity is his goal. If he decides he wants a still larger owl, he simply adds chunks of clay around the edges and pounds them into the main piece.

He works rapidly, pinching off pieces here, adding on there. Cutting tools are rarely used, since he's after a spontaneous handmade look.

Drying the pieces satisfactorily was a problem at first, so E1 Jahr devised his own drying arrangement. It consists of an old wooden floor register frame placed over a bare 25-watt light bulb. The lighted bulb pro- rides just enough heat for slow drying; the register's grill- work permits a free circulation of air.

Many of the pieces are decorated with wood ash glaze, which E1 Jahr likes. One of his owls was done by painting the figure in dark slip on a white porcelain slip background, then firing. In another, he employed the sgraffito and mishima techniques. He coated a smooth slab of clay with white porcelain slip, then, with an incising tool, "cut in" his owl design. This was then fired. He next painted over the entire plaque with Bar- nard slip, which was then wiped off, leaving the darker slip in the incised lines. When this was fired, it resulted in an owl unlike any of the others.

E1 Jahr's owls are really rather simple in technique, and the idea could be utilized in the school classroom. The potter concedes their simplicity, and adds: "As is always true in the arts, it's what you do with the techniques that counts."

The term "valid for me" crops up often in E1 Jahr's conversation, yet he does care what others think of his work. To have another artist purchase one of his pieces, for instance, pleases him immensely. Something that pleases him even more is to have a child like something he's done. Once, at a show, a ten-year-old girl wanted to buy one of his pots. "Do you plan to give it to your mother as a gift?" E1 Jahr asked her. "Oh, no," was the reply, "I want to have it because I like it." The child handed E1 Jahr 50 cents. Jahr turned the piece over and looked at the price sticker. The pot was marked $5. "I gave it to her for 50 cents," he said, "and felt complimented she had chosen my work."

In view of his training in art, E1 Jahr was asked: "Why ceramics? Why do you like ceramics better than, say, oil painting?"

" I don't know that I do!" he replied with an emphasis that was surprising in one who teaches and excels in the medium. "When pots crack, or the glaze shrinks, or shivers three months after you've made the piece, then I wonder why I don't just paint oils." He had an answer for himself, though. "Perhaps that is also why I like ceramics: it's the unknowns, the mysteries, the hid- den possiblities that make it an exciting and challenging medium."

"'Parliament of Owls" is the collective noun used to designate a gathering of owls. Other collectives are "'.4 Gaggle of Geese" and "'An Exultation of Larks. ' --Ed.

r . . . . . . . . . . . . . . . . j

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1. El ]ahr slices a slab o[ clay [tom the wedged

lump, using a cord . . . . Work is done cutter. on burlap.

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2. 7"he slab is pounded to the desire~4 size and thickness [or an owl

plaque with the hands.

3. Bisque stamp used to make the eyes is the potter's only standard tool used in making the owls.

. . . . . . , ,

4. F~'¢'t are [ashioned by adding on clay,

then marking claw lines with a pointed stick.

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5. Sur[ace decorating is done with whatever suits his [ancy. t Here a piece o[ bamboo is used.

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6. Burlap working sur[ace is li[ted and

supported to give a turned-up edge to the [inished owl.

January 1969 2 5

Casting with Glass by ERNEST W. POLLMAN

GLASS OFFERS MANY POSSIBILITIES in the hands of the craftsman, and much has been written about this fascinat- ing subject. The potter or enameler may be interested in working with glass in the sheet form for laminating or slumping, or his prime concern with glass may be as an ingredient in glazes. For those interested in exploring another aspect of studio work with glass, the area of glass casting offers many possibilities. I t is a creative process that has a great deal of potential in the area of sculpture.

Glass casting is most effective for making relatively simple forms because the process involves gravity casting and therefore the glass does not become fluid enough to run into small voids. However, though the process is confined to rather uncomplicated forms, great detail in those forms is possible.

To begin with, it is necessary to make the original sculpture in a casting wax, which might be beeswax, paraffin, or a mixture of the two. I t must have the characteristic of burning away in firing without leaving a residue. Prepared casting wax is convenient to use and it is available from art dealers and dental supply houses.

The wax can be formed in almost any technique. Except for being harder, it works much like clay. I t can be added to or taken away from, in much the same manner as clay, by the use of heat. Final smoothing is accomplished by burnishing the wax form with a blunt tool or by carefully heating it with matches or a gas flame. I t is of the utmost importance to refine and per- fect the wax form, for when it is cast, glass picks up all details. Even finger prints that are neglected in the burnishing will show up in the finished glass sculpture.

After the form is finally smoothed and refined, it is necessary to make and add a sprue. This section will hold the marbles or other glass that is used for casting and, as the glass melts, allow it to flow down into the space in the mold originally filled by the wax model. The sprue must be of sufficient size to hold enough glass to fill the sculpture form. The proper amount of glass should be calculated at this time, and it is figured by the displace- ment method: Partially fill a large container with water, then submerge the wax form in it. Don' t include the sprue! Next, mark on the container wall the level to which the water rises. Now remove the wax form and put into the container enough glass to bring the water level up to the mark. This is the amount of glass needed for the casting. I think it is better to add a little extra glass to this amount, as it always is better to have more than enough.

With the sculpture and sprue made, it is necessary to make a flask, or mold box. This can be constructed from cardboard, plastic, wood, or some similar material. The only size consideration involved with the flask is that at least one inch of clearance must be left between the sculptured form and the walls of the flask on all sides and the top. A cardboard milk carton works very well as long as the sculpture is not too large. If a milk carton is used, the bottom should be left intact. The wax model, with sprue attached, is inverted and then placed in the carton. Tha t is, the top of the sprue rests on the bottom

26 Ceramics Monthly

of the carton. I t is important that the model be secure- ly attached to the bottom of the flask; if not, the wax may float to the top when the investment is poured.

The investment which is used to make this mold is similar to plaster of Paris but will withstand high tem- peratures. I t is the same cristobalite investment used for metal and dental casting and is available from dental supply houses, as is the wax.

A home-made investment consisting of equal parts of plaster of Paris, pulverized lightweight refractory brick, and shredded asbestos will work quite satisfactorily. But it must be remembered that this is a substitute investment and some protective measures should be observed the first time it is used. I would suggest using a heavy coating of kiln wash on the kiln shelf or floor, and placing the mold so that it cannot touch anything but the floor!

Use enough investment to fill the flask, mix it with

~f

I. A simple figure is [ormed from wax and burnished to a smooth surface.

S / •

5. Sprue material is dug away ]rom the exposed section of the mold.

water until a creamy consistency is reached, and then

pour this into the prepared flask until the flask is full.

Agitate the flask slightly to release any air bubbles, then allow the mold to dry thoroughly. Next, cut or tear

the cardboard flask f rom the mold and carefully dig out the material that was used to make the sprue.

I t now is necessary to get rid of the wax form in order to create a void in the mold for the glass. This is

done by placing the inverted mold in a pan and heating

it. An electric hot plate works well for this purpose, or the heating can be done in a kiln at very low heat. Hea t

until the wax softens and flows f rom the mold. I t is im-

por tant to eliminate as much of the wax as possible; any

small amount remaining will burn out later in the kiln. Now the mold is filled with glass - - either marbles,

which give very unique color effects, or other glass. I t

is very impor tan t that there be sufficient glass to fill the

form, and in order to calculate this, use the displacement method described earlier in this article. Add the extra

glass, as suggested, in order to fill the form void and sprue with as much glass as possible.

Place the glass-filled mold in the kiln and fire to

Cone 06 or 05. The mold can be fired in the kiln with other regular pottery pieces if all of the items are to be

fired at the same temperature range. The firing procedure is the same as for regular pottery firing.

When the kiln is cool, the mold is removed and carefully broken apar t to expose the cast glass form.

After the base is ground smooth, the sculpture can be mounted in any fashion that is desired.

This article was prepared with the intent of giving some basic concepts and techniques in casting with glass.

I t does not explore the vast amount of what can be done - - this is left to the imagination of the reader.

2. A @rue is added at the base to hold glass when casting is done.

.... :~ ~i" ~ i

3. The form is inverted and placed in a carton that is used as a flask.

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I I ~ ' " ~

from the investment.

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7. Mold and sprue spaces are filled with marbles, ready for firing.

4. Investment is poured to Jill the form; when it has hardened, the carton is removed.

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8. When cool, the investment is broken to expose the glass sculpture.

January 1969 27

Combining Enameled Copper and Wood by POLLY ROTHENBERG

W t t E N SMALL WOODEN SHAPES a r e combined with e n a i n - eled copper, the wood grain and color become a part of the design. Woods are selected and combined with this in mind. If wooden shapes and enameled pieces are too equally balanced, the composition may be monoto- nous. It makes a more interesting result when one or the other predominates.

The demonstration project makes use of light cherry- wood bird forms and small enameled wing shapes mount- ed against a dark-grained mahogany panel. Both woods are reddish-brown in color, and this is kept in mind

when colors are selected for use on the enameled pieces. Several birds forms are cut from paper and tried in

different positions on the wood panel. From these shapes, three are selected. They are positioned on a piece of half-inch-thick cherry wood in such a manner that the wood grain becomes a part of the design. A pencil is used to trace around them directly onto the wood surface. Wooden shapes can be cut out with a bandsaw or with a hacksaw blade fastened into a jeweler's saw frame, or any woodworking shop will cut them out for you.

All surfaces and edges of the wood pieces are sanded smooth with fine sandpaper, then they are positioned on the large panel. Next, several wing shapes are cut from cardboard and tried in different positions with the wood- en bird forms. The wings selected for the composition are traced onto 18-gauge sheet copper with a metal scriber. They are cut out with metal shears. After they have been flattened with a leather mallet, edges are filed smooth and rubbed with steel wool.

The next step is to clean the copper pieces with

2

k

28 Gerarnics Monthly

!

scouring powder and rinse them thoroughly in prepara-

tion for enameling. Some of the wing shapes are slender

and pointed; shapes such as these have a tendency to

curl up at the ends when they" are enameled and fired on

just one side. To prevent this from occurring, the pieces

are painted with liquid flux on their underneath surfaces

and allowed to dry. Before they are fired, the top surfaces

are sprayed with gum solution and dusted with a generous

coat of enamel. When they are dry, both enamel surfaces

are fired in one operation, at 1450°F. Care must be taken

that the dr} liquid flux is not disturbed while the surface

enamel is applied. The pieces can be set on small supports

while the top sides are dusted. Colors can be added and

fired to the top surface of each piece for a second firing.

Each wood and enameled-copper shape is roughened

on the underneath surface with an abrasive stone, then

the piece is cemented in place on the large background

panel and left to dry, preferably overnight. For large

panels, more complicated designs can be attempted with

enameled copper and wood applique.

1. Cardboard bird shapes are traced onto cherry wood.

2. Each cut-out wooden shape is sanded smooth.

3. Wings patterns are tried in diffierent positions.

4. Selected wing shapes are traced onto 18-gauge copper.

5. The shapes are cut with aviation metal shears.

6. The shapes are flattened with a leather mallet.

7. Liquid flux is applied to the back of each piece.

8. Planned colors are siftod onto the top of each wing.

Finished piece (above) shows how enameled metal

shapes are combined with wood to create a wall plaque.

4

F .___JP

r e "

A January 1969 29

r ~_ heel

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30 Ceramics Monthly

Ash Glazes for Cone 6 by RICHARD BEHRENS

SINCE ANCIENT TIMES plant ash has

played a major role in the composition

of glazes. History records the early

use of glazes prepared by fritting plant

ash with ground flint, and some of

the green and yellow glazes of the

Han dynasty in China were prepared

from ash, lead, and flint. Some folk

pottery, as well as some of the work

by contemporary artist-potters, uses

ash glazes with striking results.

Since plant ashes vary widely in

chemical composition, satisfactory

glazes prepared from them require ad-

ditions of other glaze materials. The

kind and amount of these additional

materials is usually determined

through experimental formulas devel-

oped by controlling the mix and the

firing. Specific formulas cannot other-

wise be determined except through

a chemical analysis of the ash. Even

the sapwood, the heart wood, the

stems, leaves, roots, and seeds from

a single plant may vary widely in the

chemical composition of their ash.

And the ash of identical species of

plants grown in different soils may be

quite different. From time to time,

some effort has been made to cor-

relate ash used in glazes with plant

species, but with indifferent success.

The common denominator in ash

compositions appears to be the exis-

tence of substantial amounts of whit-

ing, flint, alumina, potash and phos-

phorus, significant amounts of other

compounds, and some trace elements

which exercise small but subtle in-

fluences in the glaze in which they are used.

Since ash from burns on the open

ground may contain much unwanted

soil material, that gathered from clean

fireplaces, stoves or incinerators is

more constant in composition. The

ash may be leached out several times

with water in order to remove soluble

salts--and particularly the potash--in

the ash. In practice, however, the

whole unleached ash has proved very

satisfactory, even though the glaze

mixes may be somewhat alkaline and

might produce a slight incidence of "dishpan hands."

Ash, either leached or unleached, is

quite refractory. And while it may

yield a sparse or thin glaze in the

higher stoneware range of firing, gen-

erally some such materials as clay,

feldspar, and silica are added.

As a point of departure for pro-

ducing an ash glaze through experi-

ment, we will start with the following

"mix" that can be added in various

proportions to the ash for experiment-

al firings to produce a successful glaze:

SPODUMENE MIX

Spodumene . . . . . . . . . . . . . . . . . 84% Lithium Carbonate . . . . . . . . . . 5 Bentonite . . . . . . . . . . . . . . . . . . . 3 Gerstley Borate . . . . . . . . . . . . . . 3 Ball Clay . . . . . . . . . . . . . . . . . . 5

100%"

This mix, as well as the ash, should

be passed through a 100-mesh screen before it is used in the compound.

The spodumene mix can be com-

bined with the ash in different pro-

portions. You may want to try 50%

of each in one test; in another, 40%

ash with 60% of the mix; or 35%

ash with 65% of the spodumene mix;

or several other percentage groupings.

These may be fired at the desired

cone level or, for that matter, tests

each might be fired at several dif-

ferent cone levels. One or more of

the tests should turn up a promising glaze.

The following description of tests with three different kinds of plant

ash should provide a good illustration.

The ashes of three plants were fired

with the spodumene mix at Cone 6.

The ashes were derived from acacia

tree wood, Douglas fir lumber, and

rice hulls. Comparable examinations

of the fired glaze showed little or no

difference in the glazes obtained from

the tree ashes, but the highly siliceous

rice-hull ash proved too refractory to

produce a satisfactory glaze within

the proportions of the two materials

used in the test. Proportions of from

35% to 55% of tree ash to 65% to

45% of the spodumene mix produced

satisfactory glazes when fired at Cone

6. The variations between the tests

were in the degree of mattness obtain-

ed. As a result of the tests, it was de-

cided that highly siliceous ash ma-

terial may, in general, prove less

satisfactory than the average tree wood in glazes.

Following is a very satisfying rugged

matt glaze that can be applied to

greenware and fired to Cone 6.

CONE 6 ASH GLAZE

Albany Sllp Clay . . . . . . . . . . . . 46% Wood Ash . . . . . . . . . . . . . . . . . . 46 Lithium Carbonate . . . . . . . . . . 8

100%

Oxide and carbonate colorants, as

well as stains, can be used to produce

pleasing muted colors in ash glazes,

and 5% additions of rutile or titan-

ium oxide may yield nice broken patterns.

RICHARD BEHRENS is a graduate chemist who has worked in various industrial and research fields and has taught pure and applied chemistry at the adult and secondary levels. Pot- tery is his major avocation and he spends much o[ his time exploring the field o[ glaze technology in his work- shop.

]anuary 1969 31

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CERAMACTIVITIES people, places and things

ANNUAL MEETING SET The Annual Meeting of the National

Council on Education lor the Ceramic Arts will be held March 27-29 in Kansas City, Missouri. Ken Ferguson is in charge of the program, which will be centered at the Kansas City Art Institute. Informa- tion concerning the Council can be ob- tained by writing Room 132, Fine Arts Building, University of Illinois, Cham- paign, Ill. 61820.

CANADIAN ASSOCIATION NEWS The Council of the Canadian Cra[ts-

men's Association has issued its first num- ber of Cra[tsmandL'Artisan, a bilingual magazine published for Canadian crafts- men. Sheila R. Stiven is editor of the new mblication.

The Canadian Craftsmen's Association was established at Winnipeg in 1965 when a group of craftsmen and other persons concerned with the development of fine crafts and quality of design met to discuss problems of mutual interest. Memberships are available in Craftsmen, Associate, Group, and Sustaining categories. Mem- bership enquiries should be made to the Association at P.O. Box 2431, Station D, Ottawa, Canada.

CRAFT GUILD REPORT The Ohio Arts and Cra[ts Guild reports

a "highly successful" selling mart held in Akron during October. The Guild, which was organized in 1963, has as its purposes the following: to bring together creators and patrons of crafts and ar t ; provide for Ohioans a showplace for their talents; pre- serve old-time skills and foster the devel- opment of new ones; and bring fresh op- portunity to the retired, unemployed, or handicapped. The 200 active members of the Guild have staged demonstrations, shows and sales at the State Fair, various festivals, and in department stores in major cities. In addition, the Guild operates its own gift shop and state headquarters in Cambridge.

Officers are Miss Leona Boring, presi- dent ; Mrs. C. A. Craig, vice president; Mrs. Kenneth Lodge, secretary; Mrs. ]. W. Knight, treasurer; and Mrs. ]ames Frame, shop manager. The Guild address is 800 Wheeling Ave., Cambridge, Ohio 43725.

WESLEYAN POTTERS NEWS The Wesleyan Potters held their annual

exhibition and sale at their headquarters in Middletown, Conn. from November 30- December 7. Fifty advanced potters from the group were invited to participate in this year's event, and advanced members from the jewelry and sculpture classes also were invited to show. In addition, 90 visiting craftsmen and artists from Maine to Virginia were invited to participate. Handcraf ted work also came from Hudson

Bay Eskimos and from Indians of Bolivia and Ecuador. These latter contacts were made when five of the potters traveled to Peru in August for the W.C.C. craft conference. Co-chairmen for this year's show were Mrs. Arthur Schultz and Mrs. Earl Hanson. Mrs. John Paton handled publicity for the group.

DUCKWORTH COLLECTION Over 220 pieces of English and Ameri-

can porcelain and ceramics from the pri- vate collection of Mrs. Harold G. Duck- worth of Springfield, Massachusetts cur- rently are on exhibit a t The Toledo Mu- seum o[ Art. An extensive and important American collection of porcelain and ce- ramics, the Duckworth collection represents the highly skilled craftsmanship of the 18th and 19th centuries. The collection is on view through January 5.

FORT WAYNE INVITATIONAL The Fort Wayne ( Indiana) Museum o[

Art is presenting the National Invitational Ceramic Exhibition through January 5. Included are six pieces each from the following artists: Clyde Burr, Claude Con- over, Robert Engle, William Farrell, Gene Friley, Bruce Grimes, Charles Lako[sky, Dick Leach, Nancy Malone, Tom Malone, Richard Peeler, Miska Petersham, Don Pilcher, Louis Raynor, Don Reitz, Tom Sharer, and ]ohn Stephenson.

Paul Soldner selected the prize winners in the show and the well-known potter also presented a slide lecture, on November 24, on glazing, kiln building, and raku at a meeting sponsored jointly by the Indi- ana Artist-Cra[tsmen, Designer-Cra[tsmen of Fort Wayne, and the Museum o[ Art.

RECORD ATTENDANCE SET The October Cra/tsman's Fair of the

Southern Highland Handicra[t Guild was held at the Auditorium in Gatlinburg, Tennessee, from October 2 2 - 2 6 and at- tracted a record attendance of 29,633, an increase of 3,325 over the 1967 Fair. Craft sales totaled $85,965, an increase of $19,378 over the 1967 figure, and the total gross (sales plus admissions) was $113,200. Over 80 craftsmen participated and sold in the 66 sales booths; 13 edu- cational demonstrators appeared in exhibit and entrance areas; and an additional 100 members were represented in the Members Gallery and Exhibit. Robert Gray is Di- rector of the Guild.

GALLERY UPSTAIRS The Associated Artists o[ Pittsburgh

will present an exhibition of pottery and painting by Barbara Ford at the group's "Gallery Upstairs" in the Arts and Crafts Center. The Center is located at Fifth and Shady Avenues. Marge Marks is in charge of publicity for the Arts and Crafts Center.

32 Ceramics Monthly

"HANDICRAFTS" EXHIBITION TOURING

The Traveling Exhibition Service of the Smithsonian Institution currently is touring the exhibition, "Handicrafts of the South- east," an exhibition of 75 craft items and 25 mounted photographs showing crafts- men at work. The show was organized by Ralph Rinzler, Consultant for Folklife to the Smithsonian.

An index to the culture of a region can generally be found in the traditional handi- crafts of its people. From the broad coastal plains, across the verdant piedmont into the ripples and folds of the Appalachians and back down into the flat, spongy delta

of Mississippi and Louisiana, the South- east holds within its varied terrain more traditional craftsmen and musicians than any other area of the Uni ted States. Unti l World War II these people functioned to fill the needs of their isolated communi- ties, producing wares and music with the tools and instruments imported or devel- eped by their ancestors. Improved trans- portation, mass media and newly devel- oped industries in the area have wrought changes more striking and numerous here than they have in other parts of the nation. The music now travels throughout the country and around the world, as country folk record and tour, performing to an ever widening circle of enthusiasts. The work of the Indian, white and Negro craftsman speaks through its form, color and functional design to a nation of con- sumers who seek to understand a region through its cultural heritage. The music and crafts in this collection are not rep- resentative of all of the creative move- ments in the Southeast today; they reflect the best of the grassroots expression with a strong emphasis on the older traditions of families and communities. In the inter- est of doing justice to these traditions, the work of the more sophisticated artist is not included.

The pieces in the exhibition, gathered from the artists themselves from Alabama, Arkansas, North Carolina, Louisiana, Vir- ginia, Tennessee, and Kentucky, are typi- cal of craft items being created by artist- craftsmen in those areas today. Pictured is an Alabama potter at work, one of the photos included in the exhibit. This Smith- sonian Traveling Exhibition can be seen at the Koenig Art Gallery, Concordia Teachers College, Seward, Nebraska, from February 22 to March 23. Subsequent stops on the tour will be listed in the It inerary columns of CM.

Continued on Page 35

Firing Cone

Cone

The Edward

ORTON Jr. Ceramic

FOUNDATION 1445 Summit Street

Columbus, Ohio 43201

It takes to do the job

Three Orton cones are the best firing insurance you can have. The guide cone lets you know the ware is approaching maturity, and the f ir ingcone lets you know the firing is at the correct point. Deformation of the guard cone indicates you have gone beyond the best point in the time-and- temperature relationship.

Orton cones are small, and require a rain. imum of kiln space. Plaques of cones placed so they may be observed through the peep holes give you an indication of firing progress. These, and others, placed throughout the setting or used in conjunc- tion with automatic shut-off devices, may be examined after firing is completed to give you a detailed picture of conditions in all parts of the kiln.

Learn more about Orton Standard Pyromet. ric cones and how they can help you to better, more uniform firing results. Ask your dealer for a free copy of "Orton Cones and their Importance to the Hobby Potter".

Guard Cone

NOW AVAILABLE!

Kilns Design, Construction & Firing by Danie l Rhodes

E v e r y t h i n g pot te rs , ce ramis t s , s t uden t s need to know a b o u t k i l n s - -

s e t t i n g up, f i r ing , va r ious types of ki lns, h i s t o ry of k i l n s - - i s descr ibed

and d e m o n s t r a t e d t h r o u g h over 100 d r a w i n g s and p h o t o g r a p h s in th i s

f i r s t complete, a u t h o r i t a t i v e book based on Rhodes ' yea r s of expe-

r ience a n d t h o r o u g h u n d e r s t a n d i n g of ce ramic processes. A guide to a

long-neglected a r e a of the c ra f t , K I L N S will t ake i t s place w i t h the

a u t h o r ' s Clay and Glazes for the Potter, and Stoneware and Porcelain.

Order your copy now! $10 pe r copy.

m m m m m m l l m m / l O R D E R F O R M CERAMICS MONTHLY Book Department

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Please send me _ _ copies of Kilns: Design, Construction and Firing by

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m m m m m m m m m m m m

]anuary 1969 33

CEBAMIC DESIGN by JOHN KENNY

Ceramic Design is a profusely illustrated book in which the author demonstrates many basic clay working techniques and covers a wide range of projects for both beginners and ad- vanced students. The publishers of this exciting book have called it the "how to do" and "what to do" book in one. Complete instruc- tions for methods of forming and decorating ceramic ware are given, with step-by-step photographs to guide the designer. Carefully Written chapters on form, sketching, coiling, rolling, slab building, pouring, throw- ing and combining are supplemented by othels on carved design, shaping, coloring, glazing. firing and drawing. More than 50 photo sequences, some with over 24 step-by-step photographs, and more than 100 pictures of outstanding examples of ceramic design (many in full color), diagrams, drawings and sketches illustrate this beautiful book. They are supple- mented by an appendix, a list of ceramic ma- terials, tables and recipes and glossary.

This book will find wide use among hobbyists, schools and craft centers and makes an ideal gift for any occasion. It is a beautifully bound edition with a large 71~" x 101/~ " format and has more than 600 photos with 16 pages in full colorl Order your copy now--S9.95. We pay postage and shipping charges.

Money-Back Guarantee -- All books ordered through the Ceramics Monthly Book Depart- ment are returnable for immediate, full re- fund.

We have this book in stock, ready for immediate shipment.

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34 Ceramics Monthly

CERAMACTIVITIES Continued from Page 33

GLASS SHOW AT CRAFT ALLIANCE

The Craft Alliance Gallery, St. Louis, Missouri, is featuring an exhibition of glass sculpture by Bill Boysen as the first ;how of 1969. The exhibit will open with a reception on January 5; the show con- tinues through January 30. Mr. Boysen is on the teaching staff of Southern Illinois University at Carbondale.

Coming shows at the Gallery include ceramic sculpture by Pat Degener, jewelry by Pat Taylor, and a National Enamel Show. Informat ion is available from Mrs. Robert Pettus, 4931 Laclede, St. Louis 63108.

SHOWCASE WINNER The Toledo and Area Ceramists held

their Seventh Annual Exhibit, "Ceramic Showcase 1968," in the Sports Arena Ex- hibit Hall in September. Winner of the Marc Bellaire Award of Excellence was

Joan Miller (pictured with Mr. Bellaire) ; her award-winning piece was an incised jug glazed with yellow mat t and gold. General Chai rman for the show was Mrs. lla M. Periat.

MICHIGAN POTTERS' ACTIVITIES Members of the Michigan Potters As-

sociation attended the Glass National ex- hibition in Toledo, Ohio on October 19. The Toledo Art Museum sponsored the exhibition and a series of seminars and movies on glass blowing. One of the par- ticipants in the Toledo seminar, Marvin Lipo[sky, of Berkeley, California, later demonstrated glass blowing for the Michi- gan group on the University of Michigan campus in Ann Arbor. Co-chairmen of this event were John Glick, Sue Stephenson, and ]ulie Larson.

Send news, and photos, if available, about "People--Places--Things" you think will be of ceramic interest. We will be happy to consider them for use in this column.

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