the purchase of a gas kiln? - Ceramic Arts Network · the purchase of a gas kiln? |II m I I i!!ii!ii~i ii!ill ii~i;il i.~ ~ i li:ii ~i ~ ~ii~ If you are, we'd like to help you-not

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Are you considering the purchase of a gas kiln?

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If you are, we'd like to help y o u - n o t necessarily by persuading you to buy one of our k i lns-but by giving you preliminary information about gas kilns and gas firing in general.

For example, we want people to know that a gas kiln does not fire itself. It is not simply turned on, then turned off when the desired temperature is reached. To the contrary, a gas kiln needs continual attention with regular checks and adjustments during the fir ing cycle.

We also think people should know that fir ing for the first time is inevitably a trial and

error process. The kiln has to be "learned", and each kiln (even the kilns of the same brand and model) have their own characteristics as each person firing has his own " touch" . This also means that two people can fire the same kiln often achieving completely different results!

A lot of work and experimentation are a must in gas firing. Those who are not will ing to accept this, and the possibility of a failure or two in the beginning, should never buy a gas k i ln-any gas kiln. Let them fire elec- trically. Those who are willing should not hesitate. The reward is well worth the effort.

There is more to know about gas kilns than these few facts. We try to give people an idea of what they are getting involved with before they buy a kiln, especially if they have never done any gas firing before. We think we have good kilns to offer at reasonable prices. And we want people to buy them, but only if the people know what they are getting into and are will ing to accept the commitment. If you want to know more, contact us. We'll be glad to help you.

P r o f e s s i o n a l C e r a m i c E q u i p m e n t W C S We,,.oo Om o 0o.

1 4 4 0 0 L O M I T A S A V E . , D I E P T H .

C I T Y OF" I N D U S T R Y , C A L I F . 9 1 7 4 4

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January 1973 3

Discriminating Ceramists Need a Model A-BBB

~r.~r~o~ Industries, Inc.

,/t Exclusive 1 inch insulation in l id and bottom

tit 27" deep x 23 3 /8" dia. - 7 cubic feet - 10 sided

"Jr Fires to cone 6 - 2300 ° - fast heating and cooling

tit 3 moveable sections - separate controls and p i lo t lights

Stainless Steel Construction

-/r Fire everything fromchina to porcelain - dai ly - A must for those tal l pieces that wonlt f i t anywhere else. Everything goes in this k i ln .

DAWSON Automatic Kiln Sitter installed at Paragon

tit Convenient Credit - i year to pay

See your local Paragon Dealer or ~'., write for our latest catalog

listing over 30 models.

Dept.Cm. Box 10133, Dallas. Texas 75207

TOOLS FOR

REWARD CERAMIC COLOR MFRS. GLEN BURNIE M A R Y L A N D 21061

Now represented in Canada

Variable Speed POTTER'S WHEEL

Model RK-2 (shown). All models C.S.A. approved.

F.v~ff~.~;~'," ]'m~)c~H', ~" rr~td D;..'~';h~/or

518 l]eatty ~t. \ , : t llCOIl v e r , B . L .

4 Ceramics Monthly

M O N T H L Y

Volume 21, Number 1 January 1973

Let te r s to the Ed i to r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Sugges t ions f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . . . 9

A n s w e r s to Ques t ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

I t i n e r a r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

New Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

" A Decade of Ceramic A r t : 1962-1972" by F red Ball __18

Smal l E n v i r o n m e n t s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Double-Wal led Po t s by Ben Barnes . . . . . . . . . . . . . . . . 24

An Appren t i ce sh ip in E n g l a n d by E l m e r Tay lor _ _ _28

E n a m e l i n g Cobwebs Us ing a Sp ray Technique by Fred Ball ............................... 30

Italian Potters by Angelo Garzio ................. 31

Salt Glazing (Part 2) by F. Carlton Ball ............. 34

Enameled "Geographies" ........................... 35

Using Kaolin in Simple Glazes by Richard Behrens .... 36

CeramActivities .................................... 39

Deer Tail Brushes by Jack Troy ............. 40

Index to Advertisers ................................ 50

On Our Cover Jack Earl's "Covered Box" was shown through December 3rd at the San Francisco Museum of Art in "A Decade of Ceramic Art: 1962-1972/' reported by Fred Ball on Page 18. Coustructcd of porcelain, this work is 9 ~ inches high, and was made in 1969. Earl resides in Toledo, Ohio, and teaches at the Toledo Museum of Art School for Design.

Publisher and Acting Editor: SPENCER L. DAVZS Assistant Editors: WZLLIA~ C. HUNT

FRANCES SAWYER

Feature Editor: BETTY HOLLOWAY Art Director: ROBERT L. CREAGER

Circulation Manager: MARY RUS~LEY Advertising Manager: CONNIE BELCHER

Advisers and Special Contributors: F. Carlton Ball, Richard Behrens, Kathe Berl, Edris Eckhardt, Zena Hoist, John Kenny, Karl Martz, Ken Smith, Helen Worrall, Don Wood.

West Coast Advertising Representative: Joseph Mervish Asso- ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: T R 7-7556, Area Code 213.

Copyright 1973 Professional Publications, Inc.

Ceramics Monthly January 1973, Vol. 21 -- No. I. Published monthly except July and August by Professional Publications, Inc. -- S. L. Davis, Pres., P. S. Emery, See.; at 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals, and change of address should be addressed to the Circulation Department, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second Class postage paid a t Athens, Ohio, U.S.A. Subscriptions: one year $6; Two years $10; Three years $14. Copyright 1973. All r ights reserved. The articles in each i ~ u e of Ceramics Monthly are indexed in the Ar t Index and the R ~ e r i ' Guide to periodical Literature. Microf41m 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 dealing with ceramic a r t activit ies are welcome and will be considered for publication. Manuscripts should he typed double-spaced and range f rom 500 to 2000 words. Send manuscripts and correspondence about them to the Editor, Ceramics Menthly, Box 4~4l, Columbus, Ohio 46212.

We now make a full line of stoneware and porcelain clay bodies, including two designed especially for cone 4-7. All of our clays have excellent throwing properties, high fired strength (they won't chip or break easily), with minimdl ab- sorption and low shrinkage. You'll find Ivory Tooth, a white, stoneware, Blind Lemon Black, a black stoneware, a'~-dn Michi~lan Bar, a super throwing or sculpture body, among the many clays available. We also make glazes for cone 9 and 10 firings. Write us for more details about our clays and glazes. Also, we've added to and revised our line of potter's wheels. Write for a new brochure.

Pober 128 m011 ~ , O o d I F ' 0 ~ ~AA.S 707 4 ~ - b-r~7

SYLLABUS FOR ADVANCED CERAMICS

"When I was a student, potters had their own carefully guarded notebooks wi th secret glazes. It was hard to learn how to mix glazes, let alone find recipes with which to start studying. With this Syllabus I hope learning wi l l be easy, challenging and rewarding."

E CARLTON BALL The Syllabus is a compendium of good information about pottery, wi th strong emphasis on glaze making.

Keramos Books P.O. Box 2432, Bassett, California 91745 Please send m e copies of Syllabus for Advanced Ceramics @ $3.95.

Enclosed is a check or money order for $

Name

Address

City S t a t e Z i p

]anuary 1973 5

P r e c i s i o n

HOBBY-PROFESSIONAL ELECTRIC KILNS

IN S T O C K NOW FOR IMMEDIATE DELIVERY

m e !

K I L N S &s C E R A M I C E Q U I P M E N T

L O O K A T T H E E X T R A

I N S U L A T I O N

t ~

GAS KILNS, from 2 cu. ft. to 60 cu. ft. All fire to 2500°F - - some to 3000°F. Instrumentation for temperature control and a positive control of atmosphere from highly oxidizing to reducing.

~ 1 ELECTRIC KILNS, from 2 cu. ft. to 24 cu. ft. Front loading or top loading - - all models fire to 2350°F - - some to 2800°F. Fully instrumented.

WRITE TODAY for COMPLETE in format ion Dept . B

W 7.. Our catalog illustrates a complete llne of equipment to go with these kilns.

3 5 3 C O R A L C I R C L E E L S E G U N D O , C A L I F . 9 0 2 4 5

A R E A C O D E ( 2 1 3 ) 3 2 2 - 2 4 3 0 7 7 2 - 2 5 5 7 7 7 2 - 2 5 5 E

6 Ceramics Monthly

A THANK YOU NOTE TO CM READERS As a result of the letter f rom us at the

Federa l Prison, Safford, Ar izona and pub- l ished in the October issue of CM, we have met and shared our feelings and experi- ences with m a n y potters. Dozens of people have sent books, ideas, tools and encouragement . Several people wan t to come f rom t ime to t ime to give ins t ruct ion. I wan t to thank all those people who have shared thei r be ing with us, and given us some life, some spirit, and some mean ing . Everyone has given so m u c h ; we truly apprec ia te it.

F. David Wenzel Safford, Ar izona

ENCOURAGING AMERICAN CRAFTSMEN Please note my efforts to obta in a copy

(let ter to Nat ional E n d o w m e n t for the Arts enclosed) of the "f ree" publ ica t ion listed on page 49 of the Oc tober CM, "Encour - ag ing Amer i can Cra f t smen . " T h e reply I received is a t t ached . I f ind Mr. Kl ing ' s s t a t emen t tha t " T h e r e is no free distr ibu- tion by this office . . ." r a the r humorous , since I jus t received five free publ icat ions f rom a list d is t r ibuted by my Congressman . Since I have a l ready tr ied to order this c ra f t smen ' s publ ica t ion a t a cost of 8 cents postage, wr i t ing a check for 45 cents would cost I0 cents, plus more postage, I am going to give up on this "free" booklet.

W. L. Wedekind M a n h a t t a n , K a n s a s

To ascertain i[ information in October C E R A I ~ I I C S M O N T H L Y was correct, we con- tacted the National Endowment [or the Arts and their reply follows:

" . . . You r art icle in the October 1972 Ceramics M o n t h l y was exact ly correct. 'Single copies of the publ ica t ion may be ordered f rom the Nat iona l E n d o w m e n t for the Arts . . . at no cost. Mul t ip le copies m a y be ordered f rom the Supe r in t enden t of D o c u m e n t s . . . at 45 cents each . . .' I do not know how a let ter addressed to us got to the G o v e r n m e n t Pr in t ing Office, bu t in any case, we have forwarded a free copy of the booklet to Mr. Wedek ind . "

Fannie Taylor, Director Office of P r o g r a m In fo rma t ion

W a s h i n g t o n , D. C.

CRITIOUE ON THE NOVEMBER 1972 ISSUE • . . Rober t Ei lenberger ' s article on

"Pe rch ing Forms" in the November C M leaves one ma jo r quest ion unanswered• Why would anyone wan t to create an object so ugly, un in te res t ing and ut ter ly use- less as the "pe rch ing forms" i l lustrated in the photos? Th i s kind of inani ty seems to domina te m a n y arts and crafts shows a n d gallery exhibi t ions these days, because jur- ists and critics award brownie points for innova t ion r a the r t h a n for art is t ic ability.

I n the same issue, a u t h o r Robe r t Daniel ls felt compel led to offer wha t a lmost a m o u n t s to an apology for competence. He wrote, "I feel tha t a good c ra f t sman can repeat himself wi thout fear of be ing labeled a ' p roduc t ion pot ter . ' M a k i n g sets implies

LETTERS a competency wi th the mater ia l s used in the pot ter ' s craf t ." R igh t on! W h y should a compe ten t c ra f t sman fear to be labeled a product ion pot ter? I ' d like to see more articles by people like Daniells , who obviously is compe ten t and p roud of it, and less emphas i s on the k ind of garbage illus- t rated in Ei lenberger 's article.

I agree wi th Elizabeth Gozzi of New H a v e n tha t we could do wi thout the mon th ly letters tell ing how great you are. O n e of the mos t embar ra s s ing injuries

known to m a n is the dislocation of an a r m due to pa t t ing one's self on the back.

Don Richardson Olympia , Wash .

ENAMELING ARTICLES Your publ ica t ion is the only one I know

of tha t carries articles on enamel ing . T h o u g h I am not always del ighted with them, I apprec ia te the coverage. M a n y thanks . Lilyan Bachrach

Worcester , Mass.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . : :.~~ " ~:: !~:~ . . . . . . . ~,~ i !:i! I ~"~

.[

.... i~:.*

;

,y,- t

. ~ L _ - - ~ . , , a ~ - . . . . . . ' . "~

CAN YOU MAKE A POT THIS BIG.'? If not, maybe you need our 7 Cubic Foot Model 24 Portable Gas Kiln.

PORTABLE GAS KILNS

W. D. BURT Ma, u ~ g Co.

P.O. BOX 3';3, FAIItFAX, CALIFORNIA 94930

January 1973 7

PUSH-BUTTON CLAY 80,000,000 POUNDS A YEAR

Automation is now a reality in the ceramic clay field. Amaco has erected eight clay silos for storage, which work in conjunction with our new push-button system (control panel pictured below). They are capa- ble of automatically batching, blending, extruding and packaging 40,000 pounds of dry and de-aired moist clay an hour.

Specify Amaco for fast deliveries of 18 scientifically blended ceramic clays.

Order from your local Amaco distributor or write:

AMERICAN A R T CLAY CO., INC. 4717 W. 16th St. • Indianapolis, Ind. 46222

" - ~ , ~ ~ . J ~ . ~ . ~ _ . . . . ~ . . . . . . . - ~ - ~ - : ~ - " ~ p - - -

LOOK WHAT THOMPSON OFFERS YOU !

Would you believe that all of the items pictured above can be yours . . . and get you started enameling . . . far only $49.S0? Yes, that's correct, Thampson's catalog introduces a new package consisting of an electric kiln (inside dimensions - - 5" wide, 7" deep, 4" high} and including a CAREFULLY SELECTED group of enamels, metal shapes and supplies . . . everything you need to start enameling immediately . . . for only $49.50, plus shipping charges. Send your order today with payment for prompt shipment. The new Thompson catalog, along with its famous Color Guide, is waiting far you . . . just mail the coupon and it w;I be on its way . . . absolutely FREE.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Thomas C. Thompson Co. Dept. CM 1 - - 1539 Old Deerfield Road Highland Park. Illinois 60035

[ ] Enclosed is payment for new kiln package. (Illinois residents add 5% sales tax.)

[ ] Please rush FREE Thompson Catalog.

Name

Address

City State Tip

Simplicity at its best CE-1

FRAME - 2 in. by 6 in, steel tubing. FLYWH EE L - Reinforced concrete, 125 Ibs. H E A D . Machined aluminum tapered fit. SEAT - Four way adjustable tractor seat. BEARI NGS. Fafnir, with waterproof seals. FOOT PEGS. Six way adjustable. COST - $150 Less splash pan . . . . . . . . . .

* * * * *

WE A L S O H A V E A V A I L A B L E

S T E E L P O T T E R S W H E E L S , E L E C T R I C A N D K I C K

R A W M A T E R I A L S P O R T A B L E G A S K I L N S

C L A Y B O D I E S G L A Z E S

CERAMIC EXTRUSION 369 M ILL ROAD, EAST A U R O R A N.Y. 14052

(716) 652 - 8960

8 Ceramics Monthly

SUGGESTIONS from our readers

WOOD-BURNING IRON FOR DECORATIVE SPONGES

Concerning the article by John Glick in the September 1972

CM and the making of sponges for his decorating process, I

found it was easy to make the designs by using my children's

wood-burning iron. I assumed that Mr. Glick had done the same

until I read his letter in the November CM describing the use

of nails and wire for the process. The method I devised works

quite well since it involves only one item to produce a decorative

sponge. - -Guy Prater, Mesquite, Tex.

TO KEEP BATS CLEAN

Placing cheesecloth between wet, drying clay and the plaster

bat provides a means of keeping bats clean, and allows easy

removal of the clay when it is sufficiently dried. This method is

especially useful when small batches of clay of various colors are

being prepared for testing. Usually three or four layers of cheese-

cloth are sufficient to effect drying and prevent clay leakage.

--William Wickey, Morristown, N.J.

SPARER'S (~UICK CUP HANDLES

After I have trimmed a batch of cups or mugs, I line up as

many as will fit on the work-table, with a little of the foot

projecting over the edge. Then I pull as much handle as I can

manage, nip it off at the base with my right hand, and push

it onto the first cup. An appropriate length is allowed and the

end of the handle tacked in place and nipped off---still holding

the remaining length of handle in my right hand. Then I tap

the butt end lightly against the edge of the table to thicken it

slightly, and apply it to the second cup, et cetera. Four or five

cups can be done at once. After using all of the original pulled

handle, I go back and complete a t tachment of the individual

handles. The batch of cups is then arranged on the table in

circles with the still soft handles facing inward to avoid damage,

about six in a circle, then the whole work-table is covered with

a sheet of thin plastic for overnight drying. This equalizes the

moisture in cups and handles, and they can then be allowed to

dry normally. --Laurie Sparer, Pittsburgh, Pa.

MORE ON KILN CARE

Just read Charles Jeffery's note on kiln care in the Suggestions

column in the October CM, which prompts me to share the way

I protect the floor of my kilns. From a ceramic supply house,

I purchased a ceramic kiln shelf as near as possible to the size

of the floor of my kiln. This is placed on the floor of the firing

chamber. On top of this kiln shelf are placed 6-inch square

English unglazed bisqued ceramic tiles. In the 12- to 16-inch

kilns, I use four of them to make a 12-inch protective square.

The tiles from England are the thinnest I have found. Purchased

by the box (6 dozen) the price drops about 50 percent.

--Lilyan Bachrach, Worcester, Mass.

FOR PREVENTION OF CRACKS

A recent question and answer regarding cracks in the bottoms

of thrown pots prompts me to write. This is a simple solution

indeed, but it d idn ' t occur to me until I at tended a workshop conducted by A1 Tennan t in Homer, Alaska. He advised drying

everything upside down. I t has been completely successful for me.

--Betty Ames, Kenai, Alaska

Ceramics Monthly pays up to $5 for each item used in this

column. Send your suggestions to CM, Box 4548, Columbus, Ohio

43212. Sorry, but we can't acknowledge or return unused items.

Our regular Spinning Tiger is upped tO 1 /3 H.P. Sells for $ 1 3 9 . 0 0 Will throw up to 25 pounds of clay

This is the beauty within

the budget of practically everyone

Studio, Dealer and School Inquiries Invited

Made in UJ

I 5 5 2 0 C r e b s A v e n u e "

I Tarzana. California 91356

~ Number of wheels wanted _ _

I Number of pans

I Name I Address

I City State I {Cal i fornia res4dents acid 5% Sales tax)

(Resellers Send Cal i fornia resale cert i f icate} _ 1_ ing I s,.d c,,., c.e¢., or Money Order

Our new Spinning Tiger II Sells for $189.00 Has I/2 H.P. permanent magnet motor

Will throw over 60 pounds of clay

Will be of special interest to professionals,

advanced students and grizzly bears.

Optional stand--fits both models--S29.00

_ (½ hp)

s t a n d s

- - - - - - Zip

Phone (213) 881-1167

(½ hp)

i iiiil Shipped freight collect

January 1973 9

N E W from

i

CERAMIC ART, INC.

For further information~on~fh°~e compie-fe line of Jacquelyn's Velva-GIo Products, send a s*omped self- addressed business envelope to: JACQUELYN CERAMIC ART, INC., 109 Monarch Dr., Liverpool, N.Y. 13088

the MASTER MODEL All the conveniences of the big wheels at almost half the price. Constant torque, stepless speed control , gives power enough to center 50 pounds of clay. All these features at the low

price o f . . . $ | 9 9 . 0 0 p,us,rei,ht Dealer inquiries invited on your letterhead.

• n 8005 2233 140th avenue northeast bellevue washmgto 9

gold and silver, you probably won't notice any omerence from "traditional" lead-based enamels. Same powdered i form, same application procedures, same glazing tem- ! peratures, same col ors, same price. Only the lead ~i content has been changed to protect the innocent. ~

~;i Safeguard the health of your students, your customers, i ~ and yourself by switching to LF r.M. Enamels• Just start using t h e m - no special techniques are needed.

I 12 different 30-gin samples of LF Enamel

~; It's for only ~" postpaid i ~I

Introductory set powders, plus samples of threads and lumps, a $6.50 value. $ •oo ] you,, 1

Cb : I~. the CERAMIC COATING CO. kP.O. eox 370c, Newpo,, Kentucky 41072 ~ LARGEST DOMESTIC MANUFACTURER OF ENAMELS FOR BOTH ART & INDUSTRY

10 Ceramics Monthly

Answers to

QUESTIONS C o n d u c t e d by tile C M Techn ica l S t a / /

I have been trying to find a source of ground quartz [or a

glaze but without any luck. I 'd like to try one of the formulas in Bernard Leach's manual.--].S.

Ground quartz is the same as flint. It is a source of silica in the glaze.

I was advised to allow my kiln to continue firing a short

while after the cone starts to bend, indicating that the

proper temperature has been reached. I t was explained that

this is done in order that the glaze can "'soak" a while longer

and fully mature, because the kiln is small and fires very fast.

I have been doing this but I sometimes find that the glazed

pieces in the top o/ the kiln are just right, while pieces in the

bottom area tend to be not as good. Is there any way to control

the heat to obtain an even firing? --A.P.P.

Most electric kilns tend to fire hotter at the top than at

the bcttom. If your kiln has individual switches controlling the

upper and lower elemen:s, turn off the upper element or ele-

ments as soon as the cone starts to bend, and allow the bcttom

switch to remain on for from 15 to 30 minutes more. This

should tend to equalize the heat in the kiln and give a more

satisfactory result.

I've read about the dangers of lead glazes in pots, but have

nea,er read anything concerning the danger of working with

lead to the potter who formulates his own glazes. What precau-

tions should he take or should he avoid lead glazes?--L. R.

Lead is a cumulative poison. If taken in sufficient doses or in

""'NE WEST . , ,

small doses over a period of time, lead quantities may add up to

a toxic level in the body. To be dangerous to the human anat-

omy lead must be soluble like white lead, red lead, litharge, lead

chromate, etc. Properly formulated lead silicates contain a

proper balance of silica, alumina, and lead flux so that all free

lead is used up to form the glaze matrix. These silicates are

then insoluble and thus rendered safe. If the potter avoids all

contact with soluble lead, then he too should be safe. That is

easier said than done, but it can be done. Lead enters the body

by being absorbed through the skin, inhaled, or ingested through

the mouth. Those working near lead compounds should not mix

glazes with bare hands, and should not transport or weigh glazes

where skin would be in contact with lead. Lead dust should be

kept to a minimum and an approved dust mask should be worn

when working with lead. During kiln firings, make every attempt

to keep kiln fumes away from people when lead is present in

firing glazes. Ahvays wash hands after working with soluble or unfritted lead compounds.

If there is any question about whether a lead compound is

soluble or not, consider it soluble. If you use prepared frits or

glazes and don't know if they contain lead, consult the manu-

facturer. Even if a frit or commercial glaze contains only "safe"

compounds, ball milling may render the mixture unsafe. Thus

ball milling of lead compounds should be avoided unless you

have a strong knowledge of its effects. If you feel you might

have lead poisoning, consult your doctor. It can be tested for

painlessly'. Lead glazes need not be avoided, although care must

be taken to insure that both potter and the user of the ware

are protected. For further information see "Some Comments on

L e a d . . . " and "Are Lead Glazes Dangerous?" published in the

January 1971 issue of CERA.~IXCS MONTttLY.

G l a s s m a k i n g . . . O.o*eo.r, q ..,. well-establ ished in Ancient Egypt and Mesopotamia, is being redisco,.ered by toda,. 's : / c

artists. ~&'ith this upsurge of inter- . / est, part icularly among the y o u n g , ¢" /~ ' ( ,~ :

more than fifty colleges and uni'.er- sities in the Uni ted States ei ther ha,,e

glassmaking programs in operat ion or - , ; ~ I ' / "

are gett ing them underwa,.. ," • /

GLASS, one of the newest and most unique " ' i~"" "

international magazines, is devoted to probing ~-~,,~ ,

and analyzing the magnif icent and ~ital histoq.

~ m

of glass in all periods, countries, styles and uses.

Many feature art icles,book reviews and departments

explore the past - - such as " D i g g i n g L p T h e N e v v s , " "\

a column on archaeological happenings in glass• But \•\

GLASS also co,,ers fully the excit ing things happening m \

the field today- -and tomorrow. Essa>s and items concerning

contemporary glass artistry and product ion appear regularly,. ,d

Beginning in the March ,Apr i l 1973 issue, Professor Thomas Kekic

of the College of Fine and Appl ied Arts of the Rochester Institute

of Technology will discuss in a series of i l lustrated articles, "Buildinu,

and Equipping the Small Glass Stud io . "Another on-going department, •

",Masters of Glass Design," will alternatebet,.,.een great artisans of th , . • •

past and present, such as George Ra',enscrofl and Dominick Labino. • o

,,,'° 0 LD \ \ , , \ \ ,

...:: • N

• \DDR ES ~ ,

CIT'~ & St \TI

If ~,ou, too, are intr igued by this old-yet-

new art medium, why not keep up

;,.,ith its past, present and future by subscribing to GLASS? A bi-

"<.~:, monthly (six issues a year), GLASS

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in'r- 12 Ceramics Monthly

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

WHERE TO SHOW

ALBERTA, CALGARY August-September "International Ceram-

ics '73/ ' the first world exhibition of ceramics to be held in North America under the auspices of the International Academy of Ceramics, and the Alberta Potters' As- sociation, is open to professional ceramists around the world. Work may be submitted by individuals or by groups from various countries. Jurors: Waker Drohan, Ruth Duckworth, Maurice Savoie, Kurt Spurey, Peter Voulkos, and alternate juror, Luke Lindoe. $17,000 in cash prizes. Entry forms due February 1. For information, write: "International Ceramics '73," Uni- versity of Calgary, Calgary.

CALIFORNIA, GLENDALE February 27-March 21 "Ceramic Con-

junction," competitive open to all artists residing in Arizona, California, Idaho, Montana, Nevada, New Mexico, Oregon, Texas, Utah and Washington, is sponsored by the Library Division, City of Glendale; Associates of Brand Library, Los Angeles Co. Department of Parks and Recreation, Cultural Arts Section, and the Los Angeles County Cultural Arts Association. Juror: John Mason. Any number of works may be entered with no limit on size. Entry ac- cepted by 35 mm slides only. Fee; Purchase and prize awards; Entry deadline, January 8. Send slides to Brand Library Art Cen- ter, 1601 W. Mountain, Glendale 91'_01. For details on media, and entry procedure on Invitational portion, see page 39.

CALIFORNIA, RIVERSIDE February 2-March 11 The l l th Annual

All California Purchase Prize Competition, sponsored by the Riverside Art Association, is open to all California artists and craftsmen. Fee; Prizes and purchase awards. Work due January 10-20. For information, write: Riverside Art Center and Museum, l l th Annual Exhibition, 3425 Seventh Street, Riverside 92501.

COLORADOj DENVER June 5-July 22 South Central Regional

Exhibition, sponsored by the American Crafts Council and Denver Art Museum, is open to all craftsmen living in Arkansas, Colorado, Kansas, Oklahoma and Texas. A preliminary selection will be made from slides by LaMar Harrington before Febru- ary 15. For entry forms, write Denver Art Museum, 100 West 14th Avenue Parkway, Denver 80203.

INDIANA, EVANSVILLE February l l -March 1l The 13th Annual

1973 Mid-States Craft Exhibition, sponsored by the Evansville Museum of Arts and Science, is open to craftsmen living within a 200-mile radius of Evansville. Media include ceramics, enamels and

ITINERARY glass. Fee: $3.00 for 1 to 3 entries. Pur- chase and merit awards. Applications and entries due from January 11-21. Write: Craft Committee, Evansville Museum, 411 S.E. Riverside Drive, Evansville 47713.

KANSAS, LAWRENCE February 18-March 13 The 19th Annual

Kansas Designer Craftsman Show is open to all past and present residents of Kansas.

Deadline date, January 19. Juror: Glen Kaufman. For information, write: Design Department, c/o Kansas Designer Crafts- men Exhibition Committee, University of Kansas, Lawrence 66044.

~¢~ASSACHUSETTS, FALL RIVER May 6-27 The 16th National Exhibition,

sponsored by the Greater Fall River Art Continued on Page 15

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I T I N E R A R Y

Continued [rom Page 13

Association, is open to all artists in the United States and Canada. Media include ceramics and glass. Jury; Prizes and purchase awards; Fee, $5.00 per cntry. Entry cards and slides due March 1. For information, write: John B. Gagon, 80 Belmont Street, Fall River 02720.

NORTH CAROLINA, PIEDMONT February lS-April 15 The 10th Annual

Piedmont Craft Exhibition is open to residents of Alabama, Florida, Georgia, Ken- tucky, Louisiana, North Carolina, Missis- sippi, South Carolina, Tennessee, Virginia and West Virginia. Fee. Entries due Jan- uary 17. For information, write: Herbert Cohen, Mint Museum of Art, Box 6011, Charlotte, North Carolina 28207.

OHIO, COLUMnUS March 2-30 "Liturgical Art IV," an

all-media show, sponsored by the Liturgical Art Guild of Central Ohio in collaboration with the Ohio Arts Council, is open to all artists and craftsmen who work or reside in Ohio. Purchase prizes and awards. Re- ceiving dates: February 9-11. Write: The Liturgical Art Guild of Central Ohio, 224 E. Broad St., Columbus 43215.

OHIO, COLUMBUS October 14-November 18 "Designer/

Craftsmen '73," produced by Beaux Arts for the Columbus Gallery of Fine Arts, is open to craftsmen working and/or residing in Illinois, Indiana, Iowa, Michigan, Min- nesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota and Wisconsin. All media except painting, graphics, photogra- phy and sculpture. Fee: $8.00 for 1 to 3 entries. Purchase prizes and awards; Jury. For entry form, write: Jan Schmidt, Co- lumbus Gallery of Fine Arts, 480 E. Broad St., Columbus 43215.

SOUTH DAKOTA, MADISON March 17-31 The Fourth Annual Beadle

Artist Guild Art Competition, sponsored by the Beadle Artists Guild of Dakota State College, is open to all college and university art students in South Dakota, North Dakota, Iowa, Minnesota and Nebraska. Media include ceramics and glass. Cash awards. Deadline for slides, February 15. For information and entry blanks, write: BAG Art Competition, Room 7K, Dakota S:ate College, Madison 5704.2.

VIRGINIA, RICHMOND May 13-June 15 Richmond Craftsmen's

Guild Biennial-1973, open to all craftsmen in Virginia and North Carolina, will be h~ld at the Anderson Gallery, Virginia Commonwealth University. Juror: Karen Karnes. Cash awards; Fee. Entry dates: April 1, last day for submitting entry form and fee; April 9-16, delivery of entries. For information, write: Richmond Craftsmen's Guild, P.O. Box 8594, Richmond 23226.

SPECIAL FOR HOBBYISTS

FLORIDA, ORLANDO February 23-25 The 15th Annual Ce-

ramic Competition, conducted by the Cen-

tral Florida Ceramic Society, Inc., will b( he!d at Carlton Housz Resort Inn, 651" International Drive. For information write: Mrs. J. j . Trimble, 3404. Flowertrc: Road, Orlando 32809.

IOWA, DAVENPORT April 7-8 The Annual Mississippi Val

ley Ceramic Assccia ion Show will be hek at the Holiday Inn, 5202 Brady Street. F~)l information, write: Marge Bridges, 172r W. 68th Street, Davenport, 52806.

TEXAS, SAN ANTONIO March 23-25 The 12th Annual Ceramic

Show will be sponsored by the San An- tonio Ceramic Art Associ3tion. For in.%r- marion, write: Agnes Cris:, 410 E. French Place, San Antonio 78212.

WHERE TO GO

ALABAMA, MONTGOMERY January 20-February 18 "American Por-

cclain Tradition," New Jersey State Mu- seum Traveling Exhibition; at the Mon- gomery Museum of Fine Arts.

ARKANSAS, LITTLE ROCK through February 15 "Ideas in Clay,"

organized by ACC; at the Arkansas Art Center.

CALIFORNIA, LOS ANGELES through February 4 "Discover Canada,"

sponsored by the Governm2nt of Canada. includes handcrafts from Indian, Eskinl:) and Canadian craftsmen; in the Space Mu- seum Building, California Museum of Sci- ence and Industry.

CALIFORNIA~ NORTHRIDGE January "'Media: Stoneware"; at the

Fine Arts Gallery, California State Uni- versity.

CALIFORNIA, SAN FRANCISCO through February 25 "Uncommon Clay:

The English Potter Before the Industrial Revolution"; at the M. H. deYoung Me- morial Museum.

CONNECTICUT~ AVON January 14-February 28 "New Members

Show," in the new Farmington Valley Arts Center.

ILLINOIS, CHAMPAIGN January 1-31 "Chinese Gold, Silver, and

Porcelain: The Kempe Collection," a Traveling Exhibition circulated by the In- ternational Exhibitions Foundation; Kran- nert Art Museum, University of Illinois.

IOWA, AMES January 7-31 "Clay and Paper Show,"

sponsored by the Octagon Center for the Arts; at the Octagon Center.

IOWA, KEOKUK January 7-27 Iowa Designer Craftsmen

Traveling Exhibition; at the Keokuk Art Center-Public Library.

LOUISIANA, SHREVEPORT January 6-February 4 "Victorian Glass,"

Smithsonian Institution Traveling Exhibi- tion; at the Norton Art Gallery.

Continued on Page 46

January 1973 15

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NEW BOOKS SYLLABUS FOR ADVANCED CERAMICS

by F. Carlton Ball

This is a book of importance to the serious studio potter. In his introduction, Carlton Ball says: "The Syllabus for Advanced Ceramics is designed to help students after the initial fascination with the potter's wheel has somewhat subsided and a curi- osity about glazes and firing has evolved." As a guide, the author includes eleven chapters with detailed information, well explained, dealing with these subjects: Learning about Glazes, Glaze-making Ma- terials, Slip Glazes, Inducing Crawling, Copper Red Glazes, Lead Glazes, Empha- sizing Crackle Glazes, Firing Schedule, Stoneware Clay Bodies, Coloring Stone- ware Bodies, and Grog. Two appendices are included; one contains six additional glaze formulas for Clone 10, and 26 glaze formulas for Cone 5. The other is a page of study questions. 68 pages; $3.95. Kera- mos Books, P.O. Box 2432, Bassett, Cali- fornia.

FINDING ONE'S WAY WITH CLAY

by Paulus Berensoha

Paulus Berensohn's book "Finding One's Way with Clay" is a superb guide to that accomplishment. More than that, his philosophy is a directive to a way of life, as M. C. Richards points out in the introduction: "This book may well be a pioneer in the field of craft books, combining how-to with human growth." The first of five chapters, all dealing with handbuih pots, is titled "An Approach to Working" and, as is the entire book, is written in the conver- sational first person. Detailed instructions for innovative pinch pots; closed, near- closed and necked-forms; module building and covered pots are included, together with a series of illustrations and photographs detailing methods used. Suggested texturing possibilities are pictured, including "yarn pots." Using his workshop teaching techniques, Paulus ends this chapter with "An Exercise for the Imagination" and "What if . . ." and a list of 31 as- signments, the first of which is . . ."Pinch a Goblet." Equally innovative and sophisticated, the second chapter explores "Thc Color of Clay . . . Toward a New Design Relationship." Using multiple clay bodie: is a part of this section, and is accompanied by suggested amounts of clay to achieve clay blends. Adding oxides for color variation is also explained, and hand- somely illustrated with eight pages of color photographs. Suggested formulas for clay bodies are included, as are illustrated sections on wedging colored clays together, appliqueing and inlaying. Another chapter deals with sawdust firing and includes instructions for construction of a kiln. An "Album" of 28 contemporary pots is followed by a collection of the author 's notes from his "Journal ." Two appendices con-


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January 1973 17

"A Decade of Ceramic Art: 1962-1972" by FRED BALL

" A DECADE OF CERAMIC ART: 1962 -

1972" opened at the San Francisco Museum of Art on October 14. The 140 works remained on view until December 3rd, and were collected by Professor and Mrs. R. Joseph Monsen of Seattle, Washington. The catalog names them as among the first serious collectors of contemporary American ceramics. Works in this show demonstrate a wide variety of technique and style. I t might be said that they represent a mainstream movement in ceramics. Yet, to describe these ceramic objects as pots is in many ways insufficient because of their diversity. They are pots in the sense that they are clay and glaze combinations, and that they sometimes enclose space, or have a possible function; but what was most interesting about this collection was the artists' conceptual and technical virtuosity which often gave the impression one was viewing sculpture or painting. I t is that impression that may mark this exhibition as the end of discrimination against ceramics as a "minor art." The viewers clearly agreed by demonstrating considerably more interest in the ceramic show than any of the other gallery offer- ings simultaneously on view.

Ra lph Bacerra 's anthropological addition to the show was a huge stained china clay skeleton titled "Big Foot." A California potter, Ba- cerra depicts the remains of a local legend similar to Tibet's "Abominable Snowman." Although obviously a fraud, "Big Foot" is delightfully con- vincing at first glance.

More visceral and sobering was J im Melchert's "Ghost Plate," a strong and grisly work. In contrast, his " 'a ' Made Four Pounds Lighter" was precisely as described in the title. Tha t is, a large, black glazed, earthenware letter "a" whittled down by four pounds.

Throughout the show there were similar suggestions that titles play an important role in many of the works. David Gilhooly, presently of Canada, has received much attention for his

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Raku Vase, 8~ inches high, by Paul Soldner

18 Ceramics Monthly

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"'Look Alikes," porcelain blank with altered ceramic decal and luster, 1 x 10 inches, by Howard Kottler.

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"Armchair," earthenware, handbuilt and painted in so[t-faded acrylics, 9½ x 11 x 10~ inches, by Richard Shaw.

Le[t, above: "'Shoe Decanter," slip- cast and handbuilt porcelain with translucent brown glaze, [itted with cork stopper, 7 x 9 x 33//4 inches, by Victor Cieansky.

Le[t, below: "'How to Make the Big Dish," 18I/4 inches in diameter, earthenware, 1967, by Robert A r n e s o n .

January 1973 19

mythological beasts and the depiction of a lost-world's frog culture. His titles such as "Frog Fedora Playing Leap Frog," "Frog Attacking a Giant Fly," and "From the Myths of the Early Frog World," demonstrate one of many aspects of titles at "A Decade of Ceramic Art."

Technically and aesthetically interesting were decals transposed from other works of art (such as Grant Wood's "American Gothic"), but with alterations. In these works Howard Kottler approaches ceramics with far more contemporary thought than represented by the masses of weed pots and repetitive surface decorations that have crowded craft shows for the last two decades.

Among more traditional works was Marie Woo's thrown raku bowl of delicate rainbow iridescence. I t re- flected a fluency with the centuries of form and technique developed by the Japanese Culture. Ann Stockton showed stoneware plates of consummate skill in which large, vigorous brush strokes of subtle colors covered the surfaces, flowing up to or over the rims.

Paul Soldner, Henry Takemoto, Toshiko Takaezu, and John Mason, well-known potters, were represented by works of equal strength in relation to their funkier neigh- bors, although by contrast they were more conservative. Showing his broad range of abilities, Peter Voulkos displayed violently ripped, gouged stoneware pots in the "Decade" exhibition, and bronze sculpture in another museum gallery. Leaving the show, gallerygoers were confronted by a monumental Voulkos bronze, rolling and twisting along the floor for more than thirty feet. His controlled sculptures contrast strongly with his pots. The immediacy and forceful imprint of great strength on Voulkos' ceramics readily show why he has been referred to as a liberator of ceramic form.

There were some pots, like Richard Shaw's "Duck Teapot" which came close to bridging the two sides of the show. Victor Cicansky's "Shoe Decanter" and Jack Earl's "Covered Box" showed a mastery of porcelain with flawless glazes that were difficult to overlook. The most delicate, finely modeled porcelains in the show were by Sandy Shannonhouse and Lucian Octavius Pompi!i.

Fred Bauer used neon tubing with formica and elec- trical wiring to top his big bowl of cookie-like cut-outs, flowers, and toy forms. Bob Arneson, who heads the ceramic department at the University of California at Davis, was represented by works spanning a broad range of pot epigrams and materials. What Arneson began with his ceramic "7 Up Six Packs," Paul Soldner did for raku, Peter Voulkos for form, and Carlton Ball for technical innovation.

"A Decade of Ceramic Art" represents a movement away from the functional view of ceramics. Through- out, the thought occurred that this was not a show to appeal to everyone. A handsome egg cup or a fine porcelain vase could be more universal than most of the pots in this show. To that point, at the door of the gallery, a three times life-size self-portrait bust of Bob Arneson stuck out his tongue at all who passed by. The thin-shelled image was entitled "A tIollow Jesture" (sic).

Clearly, the "Decade" show demonstrates that ceramics are well into evolution.

Porcelain bottle [orm, 24 inches high, by Patricia Probst.

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20 Ceramics Monthly

Right: "'Duck Teapot," handbuilt and thrown earthenware with underglaze and glazes, 8 x 12¼ x 7~ inches, by Richard Shaw.

Far right: Stoneware c'ase, 273/4 x 113/4 inches, 1964, by Peter Voulkos.

Right: "'Patrick Pig," glazed handbuilt earthenware, 10~ x 39~ x 20 inches, by David Gilhooly.

Below: Stoneware plate, 11~ inches in diameter, 1965, by Ann Stockton.

Photos: San Francisco A luseum ol A r t

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.]anuary 1973 21

Small Environments

"SMALL ENVIRONMENTS" was an exhibit organized in the early Fall of 1972 by Ernest Graubner of the University Galleries at Southern Illinois University, Carbondale, in cooperation with the Madison Art Center, Madison, Wisconsin, and was on view in both locations.

Approximately twenty of the total works in the exhibit were loaned by private collectors, galleries, and museums. An additional twenty-six objects were selected from nearly seven hundred slides submitted to an open competition. The selection jury consisted of Cham Hendon, Director of the Madison Art Center; Ernest Graubner, Assistant Curator; and Evert Johnson, Curator of University Gal- leries at Southern Illinois University.

Nine works selected for the exhibit involve the use of fired clay and glaze in their construction. One of these is "Environment" by Don Anawalt from Washington State University at Pullman. A well crafted, fleece-lined leather bag covers a stoneware sphere which opens to disclose several interlocking layers held together by a piercing red glazed shape. According to the artist, the red color represents the life force and the sculpture symbolizes the human mind. To quote Mr. Anawalt: "This sculpture, in simple terms, is another cell containing a small portion of life. It states that life is a whole rather than a linear process. Like a pot and a person, it will eventually break and be destroyed by the forces that nourished it." "Un- folding" this complex piece is somewhat like witnessing an archaeological excavation.

Though small in size, both "3 Houses (Moving to No- where)" by Ray Allen, and "A Day in the Life" by Dennis Caffrey suggest an expansive landscape. Each contains symbolic elements, measured distances, and scale distortion. Humor invades other works in the show. Frank Schweitzer's "Is it Bigger than a (Montana) Bread Box?" is actually constructed in a bread box, and accompanied by a radio in a beer can that starts playing when the bread box is opened.

The enclosed spaces of David Furman's "Quiet, Please" and Louise McGinley's "Troubled Sleep" evoke quite a different response than the open, corner room environments such as David Hershey's "Living Room," and Bath-

room" by Mags Harries. Her work is literally a slice of a corner of life, only slightly smaller than life scale. It com- municates through the presence of small portions of fa- miliar and recognizable objects.

Ron Cooper's "Sky Pilot" is a tongue-in-cheek solution to the problem of creating a whole sky environment for the falling figure. A cube of blue air and fleecy clouds encompasses most of the figure.

The show exhibits numerous approaches to problems and their solutions through environments. A slide catalog containing forty-six 35 mm color slides and a checklist of the exhibition are available from University Galleries, Southern Illinois University at Carbondale, Carbondale, Illinois 62901.

CA /

/

22 Ceramics Monthly

Opposite: "'Environment," by Don Anawalt

] m

Le[t: "Bathroom," ceramic, by Mags Harries.

Below: "Sky Pilot," ceramic, acrylic, by Ron A. Cooper.

Lower left: "'3 Houses Moving to Nowhere," ceramzc, by Ray Allen.

Lower right: "Living Room," clay, [lock, plastic paint, enamel paint, by David L. Hershey.

January 1973 23

Double-Walled Pots by BEN BARNES

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t

.24 Ceramics Monthly

THROXVING DOUBLE-WALLED POTS is a refreshing change

in wheel production. The pots have a mood all their

own. The potter will find it necessary to develop varia-

tions of standard throwing skills, but the possibilities offer

a worthwhile challenge. The involvement of internal

negative space creates an intriguing sculptural dimension

in wheel-thrown designs. These pots are in demand as

planters, decorative pieces, and are equally useful as containers for foods.

The basic form is thrown with particular care given

to maintaining wall consistency of the neck, rim, and

the area that is to become the second wall. The shapes

that will work well with the double-wall design are limited

only by the ability of the potter and the condition of the

clay he is using. The clay should be well-aged and fairly

plastic (as for any work thrown on the wheel), with

grog added for extra strength. Grogless clay may be used for small pots, however.

After the basic cylinder has been raised, another roll

of clay is formed and pulled up. This is the extra thick-

ness needed to form a double wall. The walls above and

below the double area are thinned out to the proper

thickness; then the thicker part is pulled up. Special

attention is paid to getting all the weight of the clay up

and into the second wall.

The upper rim of the second, outer wall is thinned,

so that when it is joined again to the main cylinder there

is no excessive accumulation of weight. After achieving

all the elevation possible on the second wall, it is then

closed against the main cylinder. A thumbnail is a good

tool for making the closure. The neck is checked for

proper form and thickness. The rim is smoothed and

finished with a strip of chamois cloth or paper toweling.

Any excessive weight at the base of the pot is trimmed

away, and the pot is then cut from the wheel head and

set aside to stiffen. At this time, a small hole is made

in the blister of the double wall so that excess air pressure

during drying will not put stress on the wall.

The pot is dried slowly to a leather-hard state. I t is

then placed in a chuck and centered on the wheel. An

incision is made through the double wall so that the

thickness can be checked. If necessary, excessive thickness

may be trimmed off at this time. The foot rim is then

cut and refined. The double wall incision design is made with a gentle,

cutting action, being careful to avoid excessive pressure

that might cause the structure to collapse. The incisions

are cleaned up after the pot has been removed from the

chuck, and the finished form is set aside to dry. I t then

may be bisque-fired and glazed. Prior to glazing, wax emulsion can be applied to the

foot rim and also the cut edge of the design in the double

wall so the raw clay will contrast with the glazed area.

The double-walled pot evolved from a need to show

beginning pottery students a device to help them develop

deftness of touch and control. I t further emerged as a

form that revealed to the students the interrelation of

overall form and surface decoration. When you have thrown a few double-walled pots, you

will find that ideas will multiply rapidly, and many

sculptural variations in form and incised decoration will

naturally evolve.

T

1. A ball o/ well-wedged clay is centered.

4. Extra thickness [or the second wall is set at the desired level.

2. The clay is opened and spread.

5. Extra thickness ]or double wall is opened with wooden tool handle.

3. 7'he wall is elevated.

6. The double wall is opened to the desired depth.

January 1973 25

f

"N ~ %¸¸.¸"

7. The double wall is elevated.

13. The pot is ready to be taken from the wheel head.

t f / j

8. The upper rim o/ double wall is feathered so it will attach smoothly to main o,linder.

14. Pot is removed from wheel head and an opening is made in double wall for an air z,ent.

) . , . . ..........

9. The double wall is closed to the main o'linder.

15. After pot is leather hard, it is mounted to a chuck and centered for trimming. Double wall section is opened to check thickness.

26 Ceramics Monthly

i;~ ~!~ ~ I̧

10. Point o/ attachment o/ double wall to main cylinder is attached to the main cylinder.

16. The /oot rim is trimmed.

11. The shape o[ the main cylinder is de~'eloped.

17. The incision design is cut through the double wall.

12. The neck is (inished with wooden tool handle.

18. The design is [inished and cleaned. The pot is then permitted to dry slowly.

January 1973 2 7

An Apprenticeship in England by ELMER TAYLOR

MICHAEL LEACH IS ONE of Great Britain's foremost traditional potters. He is dedicated and meticulous. I know-- through first-hand experience. Working as an apprentice for him, I learned the fine points of production pottery.

After I completed my Master of Fine Arts degree in ceramics at Arizona State University, my wife Frances and I decided that we needed some strict, practical pottery experience. And where better than in England, a cradle of the craft?

So, off we went, despite the fact that we had received no definite encouragement from the English potters to whom we had written in advance. The English take no stock in resumes. And they won't commit themselves to accepting an apprentice sight unseen. Nor did the pros- pects brighten as we visited a number of potters across the countryside of England. We could find no openings. In fact, we ran into other Americans also bent on the same search. We began to feel that our dreams of working in England might be farfetched and quite naive.

Then, by the sheerest stroke of good fortune, we fell into an ideal situation. We met Michael Leach, master of Yelland Manor Pottery in Devon, and a member of the famous Leach clan of English potters. One of his assistants had recently left and had not yet been replaced. Mr. Leach could use us, and we needed what we could learn from him. We made cooperative working arrangements the afternoon of our meeting and immediately started to work the next morning.

In exchange for our work, we were given our lodging, which was, itself, a grand touch of England. We were given quarters above the pottery, which once had been the garage of the fine old home. We had a fireplace, a skylight and a trap door.

The pottery contains about 900 square feet. The throwing room is separated from the rest of the area by sliding doors, which can be opened into the general work area where the two-chambered kiln is located. Mr. Leach fires a one-burner oil kiln, as do most of the potters in

Yelland Manor in Devon is th a ~

T~

England. This method of firing was devised by David Leach at the pottery in St. Ires after the use of wood as fuel was discontinued.

Across the courtyard from the pottery is the magnifi- cent showroom, once a formal dining hall. Virtually all that Mr. Leach and his assistants are able to make is sold from this showroom. His customers find him he doesn't need to find them. He receives many repeat orders, sometimes for whole sets of ware, sometimes for a single piece. Production includes a standard line of dinnerware and ovenware, as well as one-of-a-kind pieces for exhibition.

My main job was to throw standard ware, although I also mixed glazes, glazed the pots, and helped fire the kiln. The actual production work began when Mr. Leach assigned each of us a shape. First, he would discuss the piece and its dimensions by drawing a silhouette of it on the blackboard in the throwing room. Then, he threw a sample piece for us, set the gauge, and told us how many to make. Each piece was examined before it was ac- cepted, and only after acceptance was it allowed to dry for bisque firing.

Each workday began at 8:30 A.M. The mornings were taken up with such things as mixing and wedging clay, and banding bisqued-ware in preparation for glazing. At 10:30 we had a break for tea, making it in the pottery over the gas ring, which also was used to melt wax. We finished the morning out in making production ware, and went to lunch at one o'clock. At two, we were back at work, stopping only at 3:30 P.5~. for afternoon tea and a biscuit. The workday ended at five o'clock. This schedule was carried out Monday through Friday, and until one o'clock on Saturday. We found the fixed routine to be very satisfactory. Little time was wasted, and we were able to produce consistently.

The entire experience was one of tremendous contrast to university life in the United States. Although I most assuredly would not trade my university education for an apprenticeship, I do feel that the practical experience I received while in England gave my ceramics background a polished touch. The Yelland Pottery was a business; it was run like one, and I learned what it took to fit in as a producing member of the team.

Creativity and artistic expression were emphasized, but I soon learned that Michael Leach was a perfectionist who expected no less from his assistants than he de- manded of himself. We had to work hard to meet his standards. We learned to throw on the Leach-type wheel, which is a treadle-operated direct descendant of the medieval wheels. We threw by the gauge, and learned to meet the mark by one-sixteenth of an inch.

The experience was exactly what we needed and were looking for. Many times I had read A Potter's Book, by Bernard Leach (Michael's fa ther) ; but not until I actually carried out many of the methods described in the book in daily routine did they come alive and seem real.

Frances and I lived and worked at Yelland Pottery for four months. During that time, our relationship with Michael Leach evolved from one of business to one of enduring friendship and respect. We were able to meet and know his entire family, including his 84-year-old father, the venerated founder of the clan.

i, ~ ~: ~,

i

:i ii

Michael Leach throws a coffeepot on

his treadle-operated wheel.

Above: An exhibition piece by Michael Leach is a celadon- glazed co[fee decanter with convex fluting and a delicate, soaring handle.

Left: Frances and Elmer Taylor with some of the pieces produced during their apprenticeship at Yelland Pottery.

January 1973 29

Enameling Cobwebs Using a Spray Technique by FRED BALL

THE INTRICATE TRACERY of a cobweb can be captured and made permanent by transferring it to a shallow bowl or the background of a copper panel with the application of sprayed liquid enamel. The design woven by the spider will remain intact and be permanently de- lineated after firing. Look for abandoned spiderwebs under the eaves of old buildings, or in basements or garden corners. After finding a satisfactory web, think compositionally of how it may be positioned on a tile or low bowl form. A web woven in several depths may be transferred as easily as a flat, shallow one, using the technique described here.

First, mix liquid enamel to a creamy consistency, or shake it violently for at least five minutes in the bottle in which it is supplied. You will need to obtain a small portable refrigerant-powered sprayer (available at larger paint and hardware stores). Fill the holding jar of the unit with liquid enamel. I t may need to be thinned with distilled water. Use tap water if the local water supply is low in mineral content. If the uptake tube of the spray unit becomes clogged during use, a needle or fine wire can be used to clear it.

Apply a slow-drying adhesive or a thick coat of Klyr- Fire to a clean copper panel or low bowl form. Then spray the web where it hangs suspended, holding the can, if possible, from six to twelve inches away from the web. Spray for several seconds, let the web dry, then repeat the procedure until the web's pattern is well defined and the strands have thickened from the coatings of enamel.

While the adhesive on the prepared tile is still wet, touch the panel to the enamel-sprayed web, pushing loose the moorings of the web. Then, gently pull the tile back toward you with a circular motion, so that the tile and web face you when the motion is complete.

Allow the piece to dry, and inspect it for defects. Thick strands of the web, or the cocoon-like wrapping of an insect that may have been trapped in the web, should be plucked out with tweezers or a needle before the first firing. They will become shapeless blobs in firing, ruining the airy delicacy of the pattern. In addition the)' often pop off when fired.

To achieve an overall background of rust-red color, free of distracting firescale patterns, spray the web-coated tile lightly with liquid enamel. A short, even burst of the spray should be enough to create a dark background. The application of too much enamel will cover up the delicate threads of the web.

Fire at 1400 to 1450°F. (760 to 788°C.). Through the spy hole or slightly opened door of the kiln, watch and

30 Ceramics Monthly

A tile with wet adhesive was touched to a cobweb that had been sprayed with white liquid enamel. It was then lightly oversprayed with more liquid white enamel to give it a consistent firescale background, and fired lightly.

wait until the copper background has turned dark, then remove the panel from the kiln. I t should then be weighted so that it will not warp. The fired web pattern can withstand a light acid bath, a second firing, or transparent overlay, if desired.

If the overspray of enamel is not made until after the first firing, firescale will develop irregularly along the lines of the web. The bare metal surrounding the web may be colored with metal colorants if desired, but the effect will be uneven, due to the firescale. The tile may also be covered with a metal lacquer.

The liquid enamel I used is also called "crackle" or "slush" enamel. It will not create a crackle pattern if used directly on the cleaned copper, as described in this article. "Soft-fusing" is recommended for this technique, but not required. I prefer using white liquid enamel, although other colors may be used. Counter-enameling is not necessary for this procedure, and a tile may be satisfactorily completed in one firing. Overlays of transparent enamels also may be used, if desired. Apply a thin coat of soft-fusing flux if you wish to accentuate the rust-red firescale produced by the prefiring overspray of liquid enamel.

If you ever suddenly come upon the marvel of a perfect spiderweb in an out-of-the-way place, and wish you could transport its delicate beauty to a permanent resting place, the technique described here will make it possible for you to do so.

Adapted [rom the book, EXPERIMENTAL TECHNIQUES IN ENAMELING, by Fred Ball, published by Van Nostrand Reinhold Co., 450 West 33rd St., New York, N. Y. 10001.

Italian Potters by ANGELO GARZIO

REACHING AS FAR BACK as his Roman forebears, the local peasant potter of Italy has played an important part in serving the needs of his community. I t is a fact, attested to by many Italian housewives, that a number of dishes and sauces used in the Italian cuisine usually have a better flavor when prepared in the local earthenware crockery. The popularity of these simple, sturdy vessels was such that the forms remained essentially unchanged for hundreds of )'ears.

Since the end of World War II , however, the products of the local potter have been less and less in demand. The decline in the popularity of his wares can be ascribed in part to the availability of the cheap metal and plastic objects that are supplanting clay pots as household cooking and serving pieces. These newer materials are perhaps more durable than the low-fired pottery, which has a tendency to chip or crack. In addition, there seems to be a status symbol involved in ownership of the modern wares. These facts, unfortunately, may bring about the downfall and eventual elimination of the potter's craft, which provided for the needs of the people for countless centuries. We may find, within our own lifetime, that economic conditions will prevent the local potters from continuing their work. I t is regrettable that their simple and rugged handwork will probably be seen only in some out-of-the-way museum.

But, time cannot be held back--cultural styles and needs change. Much of our contemporary effort in ceramics has been influenced by folk potters from many areas of the world. This article is written to bring to the attention of the American craftsman a philosophic point of view that is, perhaps, foreign to our twentieth- century attitudes. I t is my hope that it will present a significant spiritual message to enrich our own efforts as creative individuals.

The following description of two local village potters offers a fairly accurate picture of the sociological, economic and cultural situations in which the Italian craftsmen live. In most cases, the conditions described below hold fairly true for local potters throughout Italy.

Signor Antonio Grifone is in his middle years, and lives in the Appenines, in the Molise district. This area is east of Naples in southern Italy, and his small village is called Guardiaregia. The little town clings to the side of a mountain, and the only transportation in or out is by donkey or automobile. This is a wine-producing region and, economically, its people are poor.

Signor Grifone is not a wealthy man. As a matter of fact, he is in one of the lower-income brackets of the community. His workshop consists of three small, poorly- lighted rooms in two different houses. The throwing is done on a small, rickety kickwheel of undetermined age. All the pots thrown are cut off the wheel and set aside to firm up for a time before being trimmed. The trimming operation is executed by hand with the use of a

scythe-like metal tool. The bottoms of the pots are then smoothed over with the heel of the hand.

The repertoire of forms is limited, and there is not much deviation from traditional shapes. One of the forms is a bowl-shape of several different sizes, with a low, flat bottom and straight sides. These are used for a variety of purposes, including the preparation of sauces and vegetable cooking. A fairly deep, wide-shouldered and narrow-based pot with handles is used for pickling purposes. I t is also used as a water storage jar-- i ts design is believed to keep water cooler during the hot weather. A simpler and more severely-shaped storage jar is used for pickling foods and also as a cooking pot for beans and pork. The storage jars are usually glazed only on the inside. There are wine and water pitchers of different shapes, sizes and decorations, which are used in homes and also in taverns. A popular pottery vessel, used in the hot summer months to store and dispense a coconut soft

A typical widemouthed storage or pickling jar. These are also used to cook such foods as beans and pork. Only the interior is glazed; the discoloration on the exterior is caused by liquids seeping through the walls.

h

January 1973 31

. ii )!

Left: Clay being mixed by Signor Grifone.

Far left: Signor Grifone trim- ruing low bowls with scythe-like tool.

Below: The kiln at Guardiaregia.

A

i '

drink, is a bottle form with handles and a pinched neck. The clay this potter uses is a local red shale variety

that contains some lime. I t is dug and stored in the late spring and early fall. After it has dried thoroughly, the whole family takes part in pounding the large chunks of clay into a fine powder. The clay flour is slowly added to water in large containers, and mixed thoroughly. I t is dried in the sun for a time, and then set aside to age for several weeks or months, depending on the need for potter)' by the local purchasers. The clay is then wedged and stored in a damp part of the basement.

Glazing is done by the most direct mode of application and the simplest of materials. Some clay is ground into a fine powder with water added to make a thin slip. This is applied to the bisqued pot, usually by pouring. A thin, watery solution of white lead is then poured over the slip so as to flux it during the glaze firing. The result, in most instances, is a reddish, shiny surface, fairly smooth and pleasant to the touch. The pots are usually glazed only on the inside.

The glaze firing is done in a very old, up-draft, wood- burning kiln with a capacity of about 45 cubic feet. The bottom half of the chamber is loaded with glazed ware, set upside down and piled one on top of the other. The upper portion of the chamber is filled with raw pots to

32 Ceramics Monthly

be bisqued. The kiln obviously fires cooler in the upper half. The usual firing temperature for glazing is from 895 to 850°C (1520 to 1560°F), maturity being deter- mined by removing draw tiles from the kiln. The firing time is from six to eight hours, depending on the weather and atmospheric conditions. The initial two hours are spent in tossing small pieces of wood into the center of the firebox. This is done to dry more thoroughly the raw pots m the upper part of the kiln. Stoking is faster after the third hour and, by the fourth hour, there is a continuous feeding of wood into the firebox. When maturity is reached, stoking stops and a cooling period of about twelve hours is allowed. Then the kiln door, consisting of a loosely-packed layer of broken pots and grogged clay (to fill in the gaps), is torn down and the kiln is then emptied.

Signor Grifone sells his wares to the local stores in his hometown, and travels once a week to the county seat, the small city of Campobasso, to sell in the open market.

The business of pottery-making has been in his family for hundreds of years, father teaching son the intricacies of the craft. Signor Grifone, however, does not have sons, and apparently no one is interested in serving an apprenticeship to him. He is the last of the Grifone potters in Guardiaregia.

Right: Signor Villani unload- ing gas-fired kiln which l,e designed.

Far right: Signor Villani throwing on kick wheel. Note side straddle throwing position.

Below: Pinched- necked bottles with handles ready for glaze firing.

~,' : ~ ~ i "

Signor Vittorio Villani, a younger potter who has a workshop in Campobasso, the county seat of the Molise district, has had one year of formal training in an art school. He received most of his pottery training as an apprentice to his father, and was quick to note that he learned very little about pottery in the art academy. He works in much the same way and uses the same clays as does Signor Grifone, except that Signor Villani's equipment is a little newer and more sophisticated, and his quarters are better lighted. He does some selling directly from his studio, and several mornings a week he sells his wares in the open marketplace in town. The afternoons are spent potting and firing his kiln, which he designed and built. I t is a 30 cubic-foot gas-fired muffle kiln, usually fired to about 925°C. (1700°F.).

The aspirations of Signor Villani are somewhat more elaborate than those of Signor Grifone. Signor Villani's repertoire of pottery forms is more varied, and he experi- ments to a certain degree with glaze effects. He has settled down to using three glazes: one a glossy transparent; another an orange-yellow, glossy semi-opaque; and a third, a rather dark green, shiny opaque glaze.

In his freer moments, the more personal or experimental of Signor Villani's efforts point to the strong influence of such notable contemporary Italian potters as Gamboni,

Caruso, Neri and Zauli. One cannot help but feel that these excursions into the realm of a more personal idiom, as contrasted with the bread-and-butter items, are coupled with an unconscious effort to re-attract many of his for- mer clients and younger buyers. How well these attempts are succeeding is attested to by some statements he made during an afternoon conversation I had with him. He is no longer content with just his work or with his standing in the community, since he feels the world and the times are passing him by. Given the opportunity, he would undoubtedly learn another profession. He has no desire to pass his skill and knowledge on to another gen- eration, since the demand for pottery used in the course of daily human function and need decreases each year. Signor Villani and Signor Grifone both feel that pottery- making, as they practice it, is rapidly being phased out. Unfortunately, they will be the last of their kind in their respective communities.

ANGELO GARZIO is a Professor of Art at Kansas State University, Manhattan, Kansas. He has made a number of contributions to CM on such topics as raku, decorating with the Majolica technique, and reduction firing. Mr. Garzio has traveled widely in Europe, during several tours of foreign travel.

January1973 33

Salt Glazing by F. CARLTON BALL

Part I of this special series of articles on salt glazing by F. Carlton Ball, based on material originally published in 1962, appeared in the December 1972 issue of CM. Part H [oUows.

Salt-glazed stoneware is a highly fired, vitrified pottery composed of plastic clay and sand, and covered with an exceedingly hard saline glaze resembling in texture the granular surface of an orange skin. I t is produced by throwing common salt into a gas-fired kiln when the heat is most intense. This salt vaporizes and settles on the surface of the ware in minute drops. Being thin and perfectly transparent, this glaze does not obliterate even the finest scratch on the body. The body of the ware, of a white, brown, buff or gray color, is so hard that it will strike fire with steel, produces a ringing sound when struck, is impervious to water, and resists the action of acids.

Body Composition

Some clay bodies will take a salt glaze while others will not. This de- pends mainly upon the silica content and the maturing temperature of the clay. L. E. Barringer found that bodies taking a good salt glaze have a composition of one molecule of alumina to between 4.6 and 12.5 mol- ecules of silica. Clays too low in silica to take a good glaze may be improved when finely-ground sandstone or fine silica sand is added to the body. Clays low in iron oxide will often improve the salt glaze. A 1.0 percent reduction in iron oxide is equivalent to the addition of 7.8 percent silica in a Cone 3 body or the addition of 12.6 percent of silica in a Cone 7 body in considering .the brightness of a glaze, as stated by the Schurecht and Woods' study of salt-glazing. Clays lower in alumina will glaze better than high- alumina clays.

Clays containing up to 2.0 percent of iron oxide usually produce ware of a white to blue-gray to tan color. An iron content of 3.5 to 4.75 percent in a body will give brown-colored

34 Ceramics Monthly

ware, while red-brown or a mahogany color is produced with 4.75 to 8.2 percent of iron in the clay. The color obtained with iron oxide in the clay is also dependent on the temperature to which the clay is salted and fired. At Cone 3 the iron content of 3.0 to 8.0 percent gives a dark red-brown, but at Cone 10 only 1.5 to 3.7 percent of iron is necessary to produce the same color.

Clays with 1.0 to 5.0 percent titan- ium dioxide give a brighter glaze. Glazes become more matt when over 3.0 percent of magnesia is present in the clay. Clays high in iron and lime give greenish-yellow glaze effects.

Test Results

An excellent way to start preparing a stoneware body for salt glazing is to test many clay bodies and single natural clays in the salt kiln, perhaps several times at different temperatures. I make pinch pots of a number of clay bodies and clays and fire them in the kiln with bodies I know are good at temperatures that have produced good results in previous firings.

At Alfred University I fired the kiln to Cone 7, reducing the kiln from Cone 08 to Cone 6 ~ with 15 minutes of oxidation at the end of the firing. The results of the salt glazing on various clays are given here merely for reference, so they may be a guide to others preparing a salt-glaze body. The results may help in controlling, to a small degree, the color, amount of glaze and temperature of a salt- glazing body.

The following clays, salted and fired to Cone 7 in a reduction atmosphere, gave the following results: Avery North Carolina Kaolin took a

very thin glaze of a warm brown color.

Bandy Black Ball Clay took a medium layer of glaze, smooth, very bright, with a strong iron-red color.

Dalton Red Clay took a medium layer of glaze of an orange-peel texture; dark brown in color, matt, but not pleasant.

Edgar Plastic Kaolin also appeared as if part of it were painted with a thin layer of orange shellac.

English Bail Clay took a thin, smooth, satiny glaze with an orange-tan color,

English China Clay was nearly dry because of no layer of glaze. In some areas a thin, slightly glossy layer of orange color was present. The clay appeared as if it had a thin layer of shellac on it.

Georgia Kaolin gave the same effect as English China Clay except it was a slight tan color.

Imperial Ball Clay took a medium layer of glaze, smooth, very bright and strong brilliant iron-red color, nearly aventurine in character.

]ordan Stoneware Clay took a strong layer of glaze, bright with an orange-peel texture; gray in color, with iron-red spots.

Kamec North Carolina Kaolin took the salt glaze but the amount of glaze was slight and the color was an orange-brown.

Kentucky Bali Clay gave the same effect as English Ball Clay.

North American Fire Clay took a thin layer of glaze, quite matt in texture, of a medium brown color.

Rex Ball Clay took a medium layer of glaze, smooth, bright, and of a medium chocolate-brown color.

Sagger Clay took a medium layer of glaze, smooth, semi-bright and orange-brown in color.

Tennessee Ball Clay took a thin smooth satin glaze with a strong orange color. In a salt-glaze firing at the Univer-

sity of Southern California, the temperature was held at Cone 9 for nine hours during which 50 pounds of salt were used in 90 saltings. There was partial reduction during the five hours of salting.

The clays fired in this kiln gave the following results: Alberhill Blue Ball Clay--good, trans-

parent, bright orange-peel glaze; pale buff color, no character.

Continued on Page .12

Enameled "Geographies" Photos: Kent State University

BILL HARPER, AN ARTIST at Kent State University, has

received wide recognition for his work in enamels. His

creations, which he calls "geographies," are blocks of

enameled surfaces set together in a large box in which

the pieces slide, come out or can be rearranged to make

new patterns of the swirls of colors, and gold and silver

outlines. They are reminiscent of the children's toys in

which numbers or letters slide around so they may be

arranged in different order. Harper hopes people will do

the same with his "geographies."

"They are designed to force the viewer to take part in

them. I have an urge to make something people are forced

to look at, to cause them not to dismiss them, to make • . . , ,

them look more deeply, find more implications, Harper

said in discussing his work.

"This is the reason I like the word geography--group-

ing the initial pieces makes a geography, a personal land-

scape of maps and things existing in relationship to one

another: a map, not an Esso-type map, but a map of a

more personal region, even a fantasy."

The cloisonn6 pieces have won much attention for

Harper, and he has received many awards in regional

and national shows.

From the series of "'geographies" cre-

ated by William Harper, Kent State

University, are shown "White Geog-

raphy" top, and "Serpentine Geogra-

phy" below. These art forms are

made of blocks with enameled sur-

[aces which can be rearranged in

individual boxes to make completely di/ferent patterns.

January 1973 35

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Using Kaolin in Simple Glazes by RICHARD BI-;HRENS

SIMPLY COMPOUNDED GLAZES of h i g h stability may be made with kaolin as a major ingredient. Such glazes are inclined toward a broad range of firing temperatures, good hardness, and suitable viscosity during firing of the ware. They tend to have a matt ap- pearance when the silica content is lowered and the alumina content is increased.

Calcined kaolin, rather than the raw clay, may be used to reduce the tendency to crack that a "high clay glaze" might have during drying. This could cause crawling of the glaze during firing. Calcined kaolin may be purchased or it may be prepared. Calcining is achieved by firing kaolin to Cone 06 or higher. Calcining (pro- nounced cal-sign-ing) refers to the removal of chemically bonded water and other volatile gases by exposure to heat. A bisqued bowl is a good container for calcining ceramic materials.

To provide for adequate suspension and adhesive qualities in the glaze prepared from calcined kaolin, 2% bentonite may be added, as in the following prototype glaze formulas.

GLAZE I (Cone 014) A satin matt glaze Calcined Kaol in . . . . . . . . . . . 26.4% Gerstley Borate . . . . . . . . . . . . 73.6

~00.0% Add : Bentonite . . . . . . . . . . . 2.0%

GLAZE II [Cone 06] A clear glaze Calcined Kaolin . . . . . . . . . . . 27.4% Gerstley Borate . . . . . . . . . . . . 72.6 _

]00.0% Add : Bentonite . . . . . . . . . . . 2.0%

GLAZE III (Cone 06) A smooth cloudy glaze Calcined Kaolin . . . . . . . . . . 34.1% Frit 14 (Hommel) . . . . . . . . 65.9

lO0.0% Add : Bentonite . . . . . . . . . . . 2.0%

GLAZE IV [Cane 06) A lightly clouded, smooth glaze Calcined Kaol in . . . . . . . . . . . 35.4% Frit 14 (Hommel) . . . . . . . . . 64.6

100.0% Add : Bentonite . . . . . . . . . . . 2.0%

GLAZE V (Cane 06] A clear glaze Calcined Kaol in . . . . . . . . . . . 29.8% Gerstley Borate . . . . . . . . . . . . 70.2

100.0% Add : Bentonite . . . . . . . . . . . 2.0%

GLAZE Vl (Cone 02) A clear glaze Calcined Kaolin . . . . . . . . . . . 36.8% Frit 14 (Hommel) . . . . . . . . 63.2

100.0% Add : Bentonite . . . . . . . . . . . 2.0%

GLAZE VII (Cone 4) A sugary glaze Calcined Kaolin . . . . . . . . . . . 34.8% Glass Culler . . . . . . . . . . . . . . . 65.2

100.0% Add: Bentonite . . . . . . . . . . . 2.0%

GLAZE VIII [Cane 9) A satin moff glaze Calcined Kaol in . . . . . . . . . . . 49.8% Wollastonite . . . . . . . . . . . . . . 50.2

100.0% Add : Bentonite . . . . . . . . . . . 2.0%

GLAZE IX (Cone 9] A satin matt gloze Calcined Kaolin . . . . . . . . . . . 53.9% Sodium Silicofluoride . . . . . . 46.1

100.0% ,Add : Bentonite . . . . . . . . . . . 2.0%

RICHARD BEHRENS is a graduate chemist who has worked in various industrial and research/ields, 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 [ield o/glaze technology in his studio.

36 Ceramics Monthly

~ ~D,8oox

~k

GLAZE PROJECTS by Richard Behrens. This unique book covers the formulation and application of a variety of LEAD-FREE glazes in all firing ranges• An invaluable tool for those who llke to experiment in glaze making• Includes a special glossary of mater a s which is an excellent reference source. 64 pages $3.00

POTTER'S WHEEL PROJECTS edlfed by Thomas Sellers. The proiects in this handbook provide step-by-step instruction on a wide variety of special throwing techniques. Bells, bird houses and feeders, musical instruments and teapots are a few items you'll find presented• 64 pages $2.00

DECORATING POTTERY by F. Carlton Ball. This book explores easy methods of decorating pottery with clay, sllp and glaze. Those who lack skill and confi- dence in drawinq and painting will find special pleasure in discovering these decorating techniques. 64 pages $3.00

THROWING ON THE POTTER'S WHEEL by Thomas Sellers. A complete manual on how to use the potter's wheel• Covers all basic ste~s from wedging clay to making specific shapes. Clearly describes every de- tail usinq step-by-step photo technique. The finest text available. 80 pages $4.00

L

CERAMIC PROJECTS edited by Thomas Sellers. An outstanding selection of projects for the classroom, home and studio. Each project introduces a different method of working in clay. Fountains, planters, jewelry, bottles and other unique items are presented. 64 pages $2.00

UNDERGLAZE DECORATION by Marc Bellalre. This complete handbook has all the answers an materials, tools and technique• Step-by-step proiect s are pro- fusely illustrated• A practical guide for the beginner• 64 pages $3.00

I BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212 M O N T H L Y

I Please send me the following: [ ] Throwing on t h e Wheel @ $4.00 [] Ceramic Projects @ $2.00

[ ] Glaze Projects ~ $3.00 [ ] Underglaze Decoration @ $3.00 [ ] Potter's Wheel Proiect s @ $2.00 [ ] Copper Enameling @ $2.00 [ ] Decorating Pottery @ $3.00 [] Brush Decoration @ $3.00

I enclose [ ] Check [ ] Money Order (Ohio res;dents add 4% sales tax)

J Name

COPPER ENAMELING by Jo Rebert and Jean O'Hara. Recognized as the best in basic inst:uction, this elaborate handbook has over 200 photographs• Recommended by leading enamelists and teachers• 64 pages $2.00

BRUSH DECORATION FOR CERAMICS by Marc Bellalre. A fascinating book on the use and care of brushes. Shows how to make designs for decorating ceramics using iust three basic brushes - - the watercolor, liner and square shader. Excellent manual for beginners• 64 pages $3.00

I

Address.

city ._ State. Zip

January 1973 37

~cr~z~c ~ . ~ , ~w~. ~.s ,~e:~.~,::. L.-~F'T~S I ~ l b o ' T ~ ~ ¢ . ~ ' ~ ,.- 3: c . ~ - r 6o

CERAMICRAFT GAS KILNS "PINT SIZE BRUTE"

Fires on

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For more information, write

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(714} 99S-KILN

Plant 11769 E. Slauson

Santa Fe Springs, Cal. 90670 (213) 693-5690

THE HEART

BITTLE PRODUCTS

P.O.BOX 522 SOUTH BEND,

INDIANA 46624

38 Ceramics Monthly

CERAMACTIVITIES people, places and things

BILL HUNT JOINS CM STAFF

William C. Hunt, a graduate of The Colleye o/ Wooster, Wooster, Ohio, with

a Master's degree in ceramic art from The Ohio State University, has been appointed to the position of assistant ed i tor of CERAMICS MONTH- LV. For the past two years Bill Hunt has served on the faculty of Valley City State College, Valley City, North

Dakota. As a practicing potter, his most

recent work has been with primitive tech-

niques as well as salt-glazing. Bill has

lived in many states, but considers himself

a native of Ohio. He and his wife Nancy reside in Upper Arlington, Ohio, a suburb

of Columbus near the CM offices.

NCECA ORGANIZING CHARTER FLIGHT 1"O ARIZONA MEETING

Plans are being made to engage an

American Airlines jet for a special charter

flight to the national meeting of the

National Council on Education for the Ceramic Arts to be held at Northern Ari- zona University, Flagstaff, Arizona, March

30, 31 and April I. The special flight will

depart from New York City on March

29th with a stop in Chicago to pick up

additional passengers on the way to the

final destination, Phoenix, Arizona. Passen-

gers will board buses in Phoenix for the

trip to Flagstaff. The return trip will be

made on April 1. Anyone interested in

learning more about these travel arrange-

ments is asked to contact Bob Winokur at

Winokur Family Pottery, 435 Norristown

Road, Horsham, Pennsylvania 19044.

CRAFTS PRODUCTION DEGREE OFFERED

AT MOUNTAIN EMPIRE COMMUNITY COLLEGE

Mountain Empire Community College, a member of the publicly supported Vir- ginia Community College System, located

in Big Stone Gap, Virginia, has developed

a Crafts Production Curriculum which

offers a crafts production degree. Struc-

tured by the efforts of many people, in-

eluding George Vaughn, president and

Robert Gray, director of the Southern Highland Handicraft Guffd, the program

presents a two-year intensive course in

crafts, divided into three basic areas. The

first area is concerned with the crafts and

design, and includes craft history; the

second major area considers small business

management; the third consists of the

requirements for the associates degree

granted in Crafts Production, and includes

English, history of art, mathematics and

social sciences. For details, write to Di-

rector of Admissions and Records, Moun-

tain Empire Community College, Drawer

700, Big Stone Gap, Virginia 24219.

CERAMIC CONJUNCTION: AN OPEN COMPETITIVE AND INVITATIONAL

The following information regarding the

open competitive and invitational exhibi-

tion, "Ceramic Conjunction," to be held

in Glendale, California in February and

March, was received just in time for in-

clusion in this issue of CM. (See page 13

Where to Show.) The exhibit is open to

all artists residing in Arizona, California,

Idaho, Montana, Nevada, New Mexico,

Oregon, Texas, Utah and Washington. Its

purpose is to showcase the total cross-

section of work being done in the medium

of clay in the western section of the

United States at the present time. Ceramic

pieces that are used in conjunction with

other material, i.e., wood, plastic, metal,

cloth, etc., are invited, but in no way are

the entries restricted to "conjunction"

pieces. Work that is solely made of clay

will receive equal attention by ]ohn Mason, juror for the competitive portion of the show.

In this initial exhibit, an invitational

section has been included with the open

competition for the purpose of showing

the excellence of work being done by some

of the noted professionals in the field.

Artists invited are Michael Arntz, Ralph Bacerra, Dorothy Bearnson, Erni Cabat, Philip Cornelius, Larry Eisner, Maurice Grossman, John Jordan, Elaine Natzer, Dennis Parks, Jerry Rothman, George Sherman, Joe Soldate, Paul Soldner, lint Sullivan, Marguerite Wildenhain, William Wilhelmi, and Warren Wilson. In subse-

quent exhibits, "Ceramic Conjunction"

will follow the format of an open competitive show only.

Any number of works may be entered

with no limit on size. Entry will be ac-

cepted by 35ram slides only, with specific

size and approximate weight of piece in-

eluded. Up to 3 slides for each piece may

be submitted, giving different views of the

work. All slides will be returned, postage

paid. A $4.00 fee must accompany each

work submitted in the open competitive

division. Deadline date for entry is Jan-

uary 8. Send entries to Brand Library Art Center, 1601 West Mountain, Glendale, California 91201.

GLASS INVITATIONAL AT SHOP I

A Glass Invitational recently held at

Shop l, Rochester, New York, included

the work of William Bernstein, Thomas Kekic, lack Schmidt and James Wayne. The work represented a range of tech-

niques and disciplines indicative of cur-

rent directions in glass; with the pure

glass forms of William Bernstein and his

"Pooh Bear's Picnic," and "Pooh Bear on

a Swing"; Jack Schmidt's range of work from delicately feathered mugs to a deep

red vase; James Wayne's set of eight split

stem goblets in smoke, representing the

functional; and Tom Kekic's interesting

gum-ball machine complete with a glass ball in the dot.

EXHIBITION AT CRANBROOK

Opening on January 9 at the Cranbrook Academy of Art/Galleries, Bloomfield

Hills, Michigan, is an exhibition, "Naked

Clay: American Indian Plainware," which

includes pottery work from North, Central

and South America spanning a 4000 year

period. The emphasis of the show is on

the potter's craft as artistic expression,

and on the medium of clay itself, and

consists of 90 pieces of unpainted native

American pottery from the Collection of

the Museum of the American Indian in

New York City. Pictured are two objects

from the exhibition: left, pot with handle,

from Guapiles, Cartago, Costa Rica, ca.

1250-1500 ; right, textured pot from Blythe-

rifle, Mississippi County, Arkansas, ca.

1250-1500. The exhibition will continue on view through February 4.

COLUMBIA MUSEUM OF ART

A one-man show of pottery by John S. Davis was held at the Columbia Museum

o~ Art, Columbia, South Carolina in l a t e N o v e m b e r . Davis has taught pottery courses at the Richland Art School and is presently teaching at the University of South Carolina. In addition, he has recently bezn appointed assistant to ]ohn R. Craft, di-

rector of the Columbia Museum of Art.

His work has been represented in a num-

ber of shows in the south since 1970, and

one of the pots from this recent exhibition is shown.

JURORS SELECTED FOR INTERNATIONAL CERAMICS CONFERENCE IN CALGARY

Five ceramists from North America and

Europe have been appointed jurors for

entries in "International Ceramics '73," the

first world exhibition of ceramics to be

held in North America under the auspices

of the International Academy of Ceramics, and the Alberta Potters' Association, to be

held in Calgary during August and Sep-

tember. Jury members are: Walter Drohan, Calgary; Ruth Duckworth, Chicago, Illi-

nois; Maurice Savoie, Montreal; Kurt Spu:ey, Vienna, Austria; and Peter Voul- kos, Berkeley, California. Luke Lindoe of

Medicin2 Hat, chairman of the conference

and jury committee, ~ill serve as alternate

juror for the review of submissions by jury


January 1973 39

Deer Tail Brushes b\" JA(:K TI1OY

Photos: Je[[ tfanson and Adam Sterne

"o." ~ -

" ' , k;

J

"*il t b

. . B

; . ' i . , . ' . : ,,:- • ° . c J;

STYLES OF BRUSttES AVAILABLE to potters are very limited, so five years ago I began experimenting with different types of 'hairs and handles using available materials. Tile objective was to make a brush which would hold and dispense a large amount of slip or other underglaze medium. The first brush I made is still in use today and the simple technique for making these brushes is one that other potters may find useful.

The hair of a deer tail turned out to be the best material. Strong, resilient, and long, the hair is hollow and brushes made from it are expressive and useful. Deer hunters are a good source for these tails, though they can be purchased at sporting goods stores that sell fly-tying materials• Other items needed are a razor blade, nylon monofilament spinning line, strong cord, and epoxy glue. For a handle, a section of bamboo works well or an empty shotgun shell, al though interesting ones could be made from glazed and fired clay.

Slit the white under-side of the tail lengthwise with a razor blade, and remove the bone. Though one might simply grasp a tuft of hair and cut it off close to the skin, the process is easier if the skin can be laid out flat (these skins will keep indefinitely if well salted). Holding the outer ends of the hair, wind the monofilament line tightly around the opposite end so that the hairs become stiffened and flare out in a tuft. Continue winding until about one and one half inches of the hair have been covered.

Epoxy glue (mixed from two separate tubes) is applied to tbe "butt" end of the brush-head, taking care to thoroughly saturate the butt while keeping the flexible

40 Ceramics Monthly

end clean and moisture free. At this point the brush-head can be hung up by a clothespin to dry. The drying process can be accelerated by holding the brush-head under a heat lamp or placing it in a warm kiln. Tile glue has dried when it cannot be dented with the thumbnail, and then is ready to install as a plug in the handle. A plastic shotgun shell is an ideal, indestructible object to use, and a variety of sizes is available. Furniture stores will sometimes give you bamboo poles which they have left over from carpet rolls. If bamboo is used, the partition at one end of a four- to six-inch length should be drilled or cut away; the other partition is retained to keep the interior dry and clean.

Select a handle which snugly fits the glued end of the brush-head, wind the heavy cord around it, and coat it with glue to assure a tight fit. Apply epoxy to the interior of the handle and to the butt of the brush-head, and allow thein to become tacky. Work the brush-head into the handle, let dry thoroughly, and the brush is completed and read)' for use.

The finished brushes are flexible, durable, and easily cleaned. When loaded with slip they fall naturally to a point, and are ideal for uniformly coating a piece while it turns on the wheel, or for painting and splashing textured patterns on wet, green, or bisqued ware. Called dami-[ude by the Japanese, these brushes are effective and practical.

For the expenditure of only a few cents and a little time, a serviceable and valuable brush can be made. Such a simple addition to one's tools often provides an opportunity to discover new decorating possibilities.

i 1. ~I'Iaterials needed /or making deer tail brushes.

3. Wind mono/i lament line tightly so hairs [lare

out in a tu/t.

5. Glue-saturated brush is inserted into shotgun

shell.

~i~ ~i ~ ii~ !~iiiii~iii!i~i ~ !~i ~

2. Clump o/ hair [rorn under side o/ tail is prepared

/or tying.

4. Epoxy glue is applied to the butt-end o / t h e

prepared brush.

6. Deer tail brushes with bamboo and shotgun shell

handles. Brush on extreme right is /iue years old.

January 1973 41

NEW 1973 CATALOG

• RAW MATERIALS • BLENDED & BASIC CLAYS • FRITS AND GLAZE STAINS • LEAD FREE CERAMIC GLAZES • LEAD SAFE CERAMIC GLAZES • STONEWARE GLAZES a SPIGOTS ~ 2 Styles • BAMBOO HANDLES - - 3 Styles • JAPANESE BRUSHES a CORKS 11/2" 6" • PARAGON & SKUTT KILNS a OSCAR PAUL WHEELS a LOCKERBIE KICK WHEELS

"Try us for those hard-to.find items."

CATALOG $1.00

(Free To Schools & Institutions)

SAI.T GLAZING


A. P. Green Flint Fire Clay--good satiny glaze; brown color•

L. H. Butcher Co.--Prepared Stone- ware Clay--good layer of clear glaze, orange-peel texture; good medium-gray color, but no character. Engobes would help; has possibilities.

Cali/ornia K a o l i n - practically no glaze, satin nlatt texture; brilliant orange color inside, orange-brown outside•

Century Ball C l a y - good glaze, smooth, satiny orange-brown color; good for color in a body.

Culver Kaolin--practically no glaze; pale tan color•

D. R. G. Kaolin--slight glaze like a layer of shellac; pale tan color.

Edgar Plastic Kaolin--slight glaze appeared similar to a layer of shellac; pale tan color.

Imperial Ball Clay--transparent, satiny-smooth good glaze; dirty egg- shell color•

Jordan Stoneware Clay--good trans- ~ ~ [ ~ ~ M I K O L CC~ parent bright glaze, crazed ;smooth

~ P.o. Box el strong medium-gray color, no char- _ Clarement acter. i ~ ~z ~ i ~ ~ California • i 1 ~ - - - ' ~ 1 91711 Kingsley Kaolin - - ~ . . _ ~ , - ~ _ l ~ ~ d Wheels From ~ ~ [ - j 595.00 glaze ,ale ta )ra:

l ~ . ~ " 1 • ~ . : 1 Write for Lincoln Plastic Fire p ~ ~ new brochures

NO. 12 CATALOG

$1.00 Catalog Sent Free

To Schools & Institutions

VAN HOWE CERAMIC SUPPLY CO. 11975 E. 40th, Denver, Colorado 80239

practically no glaze; pale tan-orange color•

Clay # 4 / 6 - - good glaze; smooth satiny rich orange-brown color.

Lincoln Plastic Fire Clay ¢¢7--good glaze; rich mahogany color•

Monarch Kaolin - - practically no glaze; pale tan color.

Porcelain Body--good transparent bright orange-peel textured glaze; pale gray-white, no character.

Putnam Clay - - practically no glaze ; strong orange-brown color.

St. Hedgwig Stoneware Clay--a good transparent bright orange-peel textured glaze; pale gray, white specks, no character•

Tennessee Ball C l a y - good glaze; smooth, satiny, pale orange-tan col- or.

Wallace China Body--good transparent bright crazed glaze, orange-peel texture; gray-white color, no character.

Weldon Bail Clay--good, smooth, satiny glaze; brown color good for a dark body.

MAKING POTTERY FOR A LIVING?

Our two-man pottery produces over G,000 pieces of high quality stoneware a year, as well as experimental work, all hand formed. Our success is largely attributable to equipment we have developed to elminate hand labor.

This equipment is now being manu- factured in our shop under our supervi- sion. This unique arrangement has re- sulted in a complete line of pottery equipment, unequaled in performance, quality, and price.

For an illustrated catalogue write to Bluebird Manufacturing, c/o Judson Pottery, 100 Gregory Rd., Fort Collins, Colo. 80521.

BI.LJlil311; D EXTRUDERS, CLAY MIXERS, PUG MILLS, WHEELS, ETC.

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Marge Wennerstrom Phone: 5864 Mayfield Road, Cleveland, Ohio 44124 442-1020

Please Mention CM when writing our advertisers

CATALOG

SCHOOLS, INSTITUTIONS and POTTERS.

STANDARD CERAMIC SUPPLY CO.

Box 4435, Pittsburgh, Pe, 15205

Gare is dressed to kiln • . . i n s t a i n l e s s s t e e l j a c k e t s a n d a 2 - y e a r f a c t o r y w a r r a n t y o n e l e c t r i c a l c o m p o n e n t s . C h e c k G a r e ' s n e t p r i c e s b e f o r e y o u m a k e y o u r n e x t k i l n p u r c h a s e a n d m a k e a k i l l i n g .

Gare Ceramic Supply Co., lnc. P . O . B o x 830 , Haverhill, Mass. 01830

42 Ceramics Monthly

C E R A M A C T I V I T I E S


members or their close associates. Ceramists from around the world are

invited to submit work to "Internat ional Ceramics '73," with particular emphasis on individual entries, in addition to the group submissions. Entries will be judged in Ed- monton early in May, with medals and cash prizes totaling $17,000 to be awarded. The ceramics exhibition opens August 28 at the Alberta College of Art in Calgary, while conference meetings will be held at the Ban[[ School of Fine Arts. Other exhibits are being arranged in Calgary and Banff by the planning committee.

Delegates from around the world are expected to at tend "Internat ional Ceramic5 '73," known officially as "The Interna- tional Exhibition and Conference of Ce- ramics." Previous exhibits have been held in Istanbul, Geneva, Prague, and London.

Information regarding participation in the show may be obtained by writing "In- ternational Ceramics '73," The University of Calgary, Calgary, Alberta.

CONTEMPORARY CRAFTS AT DELAWARE ART MUSEUM

The 16th Annual Contemporary Crafts Exhibition, sponsored by the Education Depar tment of the Delaware Art Museum, opened at the Museum, November 19 and continued through December 15. The work of 106 craftsmen was submitted; from this, the jurors Kenneth R. Beittel, William ]. Mahoney and Paul ]. Smith selected 192 objects from the work of 70 craftsmen. Jurors' choices for the show included a black and white platter, pictured, by Kathy Dambach; a raku vase by Greg Conway; a raku hanging planter by Trudi Battershall, and a burnished box by Barbara BaiUie.

Also included in the exhibition was ceramic work of invited craftsmen: John Costanza, Erik Gronborg, Valli Koren, Florence Loeb, ]onathan Parry, Diane RoseUi, Victor Spinski, Kit-Yin Tieng Snyder, Louise Todd, lack Troy and Paula and Robert Winokur. Objects selected by the accessions committee of the Art Museum for its permanent collection were: "Porcelain Plate," celadon, by Paula Winokur; "Porcelain Box," clear glaze,

face in gold luster, by Paula Winokur; "Porcelain Lustre Incense Burner" by Kit- Yin Snyder; and a "Lidded Blue Vessel" by Kenton Poole.

An added event of the 1972 Contem- porary Crafts Exhibit was a Craftsman's Fashion Show, which was presented at one evening showing, and featured one-of-a- kind garments created by invited crafts- m e n .

EXHIBITION PROGRAM AT UNIVERSITY 0F UTAH MUSEUM OF FINE ARTS

The exhibition year began at the Mu- seum of Fine Arts, University of Utah in Salt Lake City, with a showing of cur-

rent work by the faculty of the de- p a r t m e n t of art , from September 24 through November 5. Some of the diversity of the work in ceramics from the exhibi t ion is r e p r e s e n t e d by "Trolley," a vase by S. T. Connell,

~. ~ pictured. Follow- ing the Facu l t y

Show, the "Kempe Collection of Chinese Gold, Silver and Porcelain" was on view through December 10.

From January 7 through 18 an exhibition of work, "Two Master Potters: Laura Andreson and Rose Cabat" will be featured.

In addition to the changing exhibitions program, the Utah Museum of Fine Arts is in the process of assembling a permanent collection of contemporary ceramics. A portion of the collection is shown below, and includes objects, left to right, by

Karen Karnes, Harri~o~z McIntosh, Wil- liam Bates, ~IcIntosh, Thomas Ferreira, Herbert Sanders and Byron Temple.

AT THE PASADENA ART MUSEUM

Opening in November at the Pasadena Art Museum, Pasadena, California, and continuing through February 4 is the exhibition "Islands in the Land: Folk Art and Objects / ' organized by Eudorah Moore, Curator of Design. Mrs. Moore researched this subject in depth, while collecting objects of pleasure and use which continue the generations of tradition of the craftsmen from the Rio Grande Valley of New Mexico and the Southern Highlands of the Appalachians; two distinctly different North American cultural groups. The exhibition centers on the works of living craftsmen, and is mounted against a pho- tographic study of the faces and scenes of the two areas. Mrs. Moore comments: "This exhibition is an affirmation of the creative spirit of Everyman, and has been designed as a service to enrich the vision of California's craftsmen who work in a climate almost free of tradition."

Diverse work of craftsmen in the states of West Virginia, Tennessee, Virginia, South and North Carolina represent the Appalachian section of the exhibition.


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I Oh[o residents add 60c sales tax m

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January 1973 43

POTTER'S WHEEL

Compact - Adjustable . Rigid - Portable Machined Steel Flywheel

• For information about Wheels, Dough, Mixers, Pug Mills, Kilns etc., write to:

ESTRIN MANUFACTURING LTD. 1767 West 3rd Ave., Vancouver 9, Canada

S A N D I E G O Kickwheel Kit - - $69.00. Robert Brent, Lockerbie, Oscar Paul, Shimpo wheels, Electric and Gas Kilns. Pug Mills, Ac- cessories and Supplies. Phone: 424-3250

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Continued from Page 43

The valley of the Rio Grande in New Mexico encompasses the pueblos from Taos to Acoma. The exhibition does not include work of the Zuni, Hopi or Navajo Indians. Recent work of Maria Martinez of San Ildefonso is displayed beside a piece she made in 1912, as well as pots made by her immediate family.

Concurrent with the exhibition, a series of events is being presented to bring the audience the fullest possible participation with the lives and cultures of the people who make up these "Islands in the Land." Included are lectures, film showings, a dulcimer workshop, and Pueblo Indian craftsmen demonstrating their traditional crafts throughout the time of the exhibition. Their participation has been arranged through the cooperation of the people of the eighteen Pueblos of the Rio Grande Valley and the Northern and Southern Pueblos' agencies of the Bureau of Indian Affairs.

VISIONS OF MORTALITY

"Visions of Mortality: The Skull Motif in Indian Art" opened at the Museum of the American Indian in New York in November and will be featured there until March 31.

This exhibition features 62 masks, sculptures and ceramic pieces focusing on the Indian use of the human skull as an art motif throughout the Americas. The in- clusion of the skull in such art represents the concept of death and rebirth. Dr. Frederick ]. Dockstader, director of the museum, comments: "The skull was not a macabre object, but seems to have been regarded as a realistic representation used decoratively, and religiously, in an environment in which life was short; and out of which emerged a remarkable attitude to- wards death."

From the exhibition is pictured a Mayan tripod clay brasero with modeled skull,

from Lake Amatitlan, Guatemala. The photograph is furnished through the cour- tesy of the Museum of the American Indian, Heye Foundation.

The Museum of the American Indian is located at Broadway and 155th Street in New York City. It was founded in 1916 by Dr. George G. Heye, whose private collection began in 1896. Exhibits are arranged on three floors, and represent the work of over 250 Indian tribes of the Western Hemisphere.


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44 Ceramics Monthly

' Recommended books on ceramics from

BOOK DEPARTMENT llil O N T H L Y

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NATURE AS DESIGNER by Bertel Bager. This unusual and stimulating book presents a treasured collection of plant life which demonstrates in a unique and very effective way the beauty of form in nature. The forms will suggest an infinite number of shapes and textures for puffery. An outstanding giff selection. $14.95

MAKING POTTERY WITHOUT A WHEEL by F. Carlton Ball and Jan;ce Lovoos. This comprehensive and richly illustrated book covers every phase of handbuilding and decorating clay pieces. No book covers the subject of texture and form so effectively. Includes section on firing. It is a book every teacher should have. $10.95

DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Enciso. A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, etc. 170 pages. $2.50

STEP-BY-STEP CERAMICS by Jolyon Hofsted. In this complete introduction to ceramics, the beginner is led through all of the basic clay forming and decorating processes. There are special sections on the Poffer's Wheel, Glazing, Firing a Kiln, Building Your Own Kiln, Decorating Techniques and Raku. $2.50

HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornung. Over 1800 sketches of basic designs and variations including the circle, line, scroll, fret, shield, snow crystals and many more useful symbols. $2.00

CERAMIC DESIGN by John B. Kenny. Complete instructions for methods of forming and decorating ware are given, wifh step-by-step photos to guide the designer along the way. Contains appendix, list of materials, recipes, and glossary. $9.95

CERAMIC SCULPTURE by John B. Kenny. Contains over 1000 photos and sketches covering all phases of the sculptor's art: figure work, models and casting, firing, etc. A valuable aid for all

teachers and craftsmen. $9.95

THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny. The "best seller" in the ceramic field! Step-by-step photo lessons cover all of the puffery-making techniques: clays, glazes, firing, plaster, etc. $7.50

GLASS CRAFT by Kay Kinney. The complete book on fusing, laminating and bending glass. Basic techniques and step-by-step projects. $7.50

KERAMOS by Frenz Krlwanek. All of the basic areas of ceramic work, from digging clay to building and operating a kiln, are covered in this new book. The examples of pottery are impressive both in number and quality. There is a refreshing treatment of subject matter that makes the book unique. $4.00

A POTTER'S BOOK by Bernard Leach. Now in its twelfth Amer- ican edition, this book should be in the library of every puffer and student of ceramics! $12.75

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CERAMICS by Glenn C. Nelson. A new, revised and en- larged edition (3rd) of a favorite title. An outstanding handbook for porters and teachers. 348 pages, hardcover. $10.95

THE TECHNIQUES OF PAINTED ATTIC POTTERY by Joseph Veach Noble. This lavish book unravels the methods used by the Athenian puffers to produce the greatest pottery in ancient European art. Includes information on the famous Greek black glaze. $25.00

OBJECTS: USA by Lee Nordness. A superb publication featuring over 250 of our most talented artist/ craftsmen working in ceramic, enamel, glass, metal, plastic, mosaic, wood, and fiber. In- cludes a photo of each craftsman, a brief biography, and an example of his work. 360 pages - - many in color. $14.95

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CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book on the subiect, from choosing the proper clay to putting the final touches on a piece, all clearly explained. $9.75

CERAMIC GLAZES by Cullen W. Parmelee. This invaluable reference book completely covers glaze making, including formulas and batch recipes. 314 pages of technical information. For advanced students. $9.95

CERAMICS AND HOW TO DECORATE THEM by Joan B. Prlolo. Presents detailed descrip- tions and illustrations of dozens of decorating techniques and shows how to use them. Excellent for hobbyists. $6.95

CLAY AND GLAZES FOR THE POTTER by Dan;el Rhodes. Two complete books in one! Fundamental details on both clay and glazes make this book a "must" for every student, teacher and potter. $7.50

KILNS: DESIGN, CONSTRUCTION & OPERATION by Daniel Rhodes. Everything you need to know about ki lns~etting up, firing, various types of kilns--is described and demon- strafed in this first complete book on kilns. Over I00 drawings and photographs. $10.00

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

j RAKU: ART & TECHNIQUE by Hal Riegger. The first complete book on Raku. Covers clay and glaze preparation, kiln building and firing techniques. Beauti- fully illustrated. $12.95

THE COMPLETE BOOK OF CERAMIC ART by Polly Rothenberg. Superbly illustrated with 690 photographs, this book covers every step to successful pottery making. Slab construction techniques and other forms of handbuilding, throwing on the potter's wheel, and workin.q with cast shapes, are all thoroughly covered ;n this new text. $8.95

METAL ENAMELING by Polly Rofhenberg. The emphasis in this book is on new methods of enameling and new applications of the age-old techniques. Many of these unusual experimental projects have never before been published. $7.95

CREATIVE CLAY DESIGN by Ernst Roffger. A wonderful aid to those who are learning and those who are teaching others how to explore the creative possibilities of clay. $5.95

POTTERY & CERAMIC SCULPTURE by Herbert Sanders. A thoroughly revised

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THE WORLD OF JAPANESE CERAMICS J by Herbert Sanders. This handsome book

illustrates the forming and decorating processes and the unique tools used by the

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I NAMELING ON METAL by Oppi Untracht. Step-by-step photos are used to describe fundamentals on through

J to newly developed experimental styles. A complete guide to enameling. $7.50

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January 1973 45

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46 Ceramics Monthly

ITINERARY Continued #ore Page 15

MICHIGAN, BLOOMFIELD HILLS January 8-February 4 "Naked Clay:

American Indian Plainware," from the collection of the Museum of the American Indian; at Cranbrook Academy of Art / Galleries.

MISSOURI, ST. Louis January 7-31 Blown Glass by Vernon

Brejcha; at Craft Alliance Gallery.

NEW" JERSEY, CRANFORD January 4-February 18 "Reflections on

Glass Ar t" ; at the Studio Gallery, 17 East- man Street.

NEW YORK, NEW YORK January 11-February 23 "Namban Art,"

includes ceramics made in Japan in the 16th and 17th centuries, circulated by the International Exhibitions Foundat ion; at Japan House Gallery.

through January 31 "African Textiles and Decorative Arts"; at the Museum of Modern Art.

January 12-March 25 "American Glass Now"; Museum of Contemporary Crafts.

through March 31 "Visions of Mortal- ity: The Skull Motif in Indian Ar t" ; at the Museum of the American Indian•

NORTII DAKOTA. GRAND FORKS January 15-February 11 "Beaux Arts

Designer/Craftsmen '72" Traveling Exhi- bition; at the University of North Dakota.

OHIO, COI,UMBUS January 7-31 "People Pot" ceramics by

David Davis; at Helen Winnemore's Con- temporary Crafts.

OHIO, TOLEDO through January 28 "The Campbell Mu-

seum Collection" includes rare examples of porcelain and pottery tureens produced by European and American craftsmen between 1700 and 1850; Toledo Museum of Art.

OHIO~ YOUNGSTOWN January 6-February 23 "The 25th An-

nual Ohio Ceramic and Sculpture Show"; at the Butler Insti tute of Art.

ONTARIO, TORONTO through January 28 "Japanese Art from

the Art Gallery of Greater Victoria," includes ceramics; at the Royal Ontario Museum.

OREGON, EUGENE January 3-24 "Master Crafts" exhibi-

tion; at the University of Oregon.

SOUTH CAROLINA. COLUMBIA January 5-25 "Sculpture vs. Paintings"

by W. W. Ledyard and J. Bardin. January 27-February 9 Scholastic Art

Awards; both at the Columbla Museum of Art.

UTAIt, SALT I,AKE CITY January 7-February 18 "Two Master

Potters: Laura Andreson and Rose Ca- ba t " ; at the U tah Museum of Arts, Uni- versity of Utah.

WASHINGTON, SEATTI,E January 13-February 25 "Art of Tribal

Cultures"; at the Seattle Art Museum.

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I O W A CRAFTS: 5

The exhibition "Iowa Crafts: 5" was featured at the Charles MacNider Mu- ,,'u,~ fr .m October 27 through December

3. This statewide compe t i t i on was open to all artist- c r a f t s m e n o v e r high school age residing in the State of Iowa. Submitted for consideration by the jurors, Jack Denst, Garrett De- Ruitter and War- ren MacKenzie, were 324 entr ies by 120 craftsmen

from 42 counties. Selected for the exhibition were 82 works by 61 craftsmen from 24 counties. In the clay category, Mary Weisgram of Grimes, Iowa, and potter-in- residence at the Des Moines Art Center, received the first award for a set of storage jars, pictured. The second award went to Sharon Martin, also of Grimes, for her humorous entry "Interrobang Cubicles." Miss Martin also received an honorable mention in clay for her work, "The World is Really Square." Other honorable men- tions in the clay category went to B. A. McBride of Lone Tree for a covered jar; tO James Foster of Iowa City for a black and white vase; and to Dennis Jennings of Cedar Falls for a raku egg. In the student category, Roger Ferris of Ames received honorable mention for his "En- closure Bottle."

On the opening day of the exhibition, the three jurors participated in two sessions, the first of which- -a panel discussion---considered quality in craft design; the second concentrated on their individual work and creative philosophy.

CELEBRATION CONTINUES AT SEATTLE ART MUSEUM

Celebration of the Seattle Art Museum's 40th anniversary year continues with emphasis on the scope of their collections with the second segment of a series, "Sur- vey of World Art I: Art of the Christian Era," which opened December 3 and continues on view through March 11, in Seattle, Washington.

Still another exhibition, "Art of Tribal Cultures," will be assembled from the Museum's large collection of tribal art and is being presented from January 13 through February 15. Included in this exhibition are works in ceramics, gold, silver, bronze, wood and textiles, and represent the Mochiea, Nazca and Inca of ancient Peru, the Maya of Mexico, Easter Island, New Guinea, the Pacific Northwest Coast, and tribes of West Africa and the Congo.

POTTERS G U I L D OF BALT IMORE

From a recent newsletter from the Pot- ters Guild of Baltimore, Maryland comes information that the Potters Guild offers six 12-week pottery courses to the general public each year. The Guild awards two


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Continued [rorn Page 47

scholarships for these courses, one to a person who will, in return, work with persons in the inner-city, and the second scholarship is given to a recommended and deserving student from Morgan Col- lege. They further extend their educa- tional efforts by giving demonstrations at their headquarters to school groups, scouts and club groups. Sallie ]ones, publicity chairman, also writes that Fred Bauer from California conducted a workshop for Guild members on November 8. Subse- quent workshops are planned to be led by Harriet and Michael Cohen, Warren Hallow, Bob Schrnidt and Don Reitz.

TOM POTTER'S WORK AT EXHIBIT A

The exhibition of Tom Potter's "Raku Root Platters and Landscapes" was the first one-man show to be presented at Exhibit A in Evanston, Illinois, according to Alice Westphal, and was featured there from September 24 through October 14.

Torn Potter has been teaching ceramics since 1966 in the department of fine arts at the University o/ Colorado in Boulder, after receiving his M.F.A. from the Uni- versity of lowa. The show of his raku work indicates he has developed a different, thoughtful approach to this area of

ceramics• He meticulously controls the firing to create his sculptural platters and landscapes. Sometimes abstract, sometimes whimsical, sometimes allegorical and intel- lectual, they depict the artist's llfe and environment--Colorado, the West, cities and mountains. Shown from the exhibition is Potter's "Very Mellow Pastoral with Single Contrivance."

SOUTH C A R O L I N A WINNERS

The South Carolina State Fair featured ceramics and sculpture in its annual Fine Arts Department competition, October 16- 21, in Columbia, South Carolina, which was open to residents of the state. Alta Aberga of Presbyterian College art department was juror for the event. ]on Formo of the University of South Carolina was the dual winner of awards for professional best ceramic sculpture, and for his metal sculpture, "Lombardy II ." Peggy Beaver won the award for professional best in ceramics show. Other winners in various


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categories of ceramic work included: Bar- bara Crenshaw, Suzanne Floyd, Hollace Pouncie, Barbara Leitzey, Mark Beaver, all of Columbia, and Ned Wilder of Spar- tanburg. Joe Niggel was awarded a trophy for best in ceramics show, junior under age 12, for his sculptured family of ele- phants. Best in ceramics show junior 12-18 trophy went to Walter Wol/e for his sculpture of a prehistoric lizard.

According to Helen Mendel, Superin- tendent of Fine Arts, a new and popular feature of the fair this year was the Crafts- men's Village which featured potters and other craftsmen at work.

BEADS AND BUTTONS: A WORKSHOP IN CLAY The Tennessee Artist-Craftsmen's Asso-

ciation, The Dulin Gallery o[ Art and the University o[ Tennessee, with support from the Tennessee Arts Commission, are co- sponsoring "Beads and Buttons: A Work- shop in Clay," to be held in the Laurel Crafts Building on the University o[ Tennessee Knoxville campus, February 16- 17. The workshop, led by Sylvia Hyman and Sandy Blain, will begin with an introductory session on Friday morning, followed by demonstrations and instruction on forming, texturing and coloring beads concluding with firing procedures and stringing. The Saturday session will em- phasize stoneware, earthenware, raku and primitive firing techniques. For information, write: Dulin Gallery of Art, 3100 K i n g s t o n Pike, Knoxv i l l e , Tennessee 37919.

ROBERT COLEMAN AT MASSILLON

One of the fifty glass objects by Robert Coleman of Kent Ohio, exhibited ir November at th Massillon Museum in Massillon, Ohic is pictured. Also shown below is Coleman working in his studio. Since 1966 he has exhibited widely on the West Coast

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C i t y Sta te Z ip • Q o l e e e e o o e e o e e o o o l e o e o • • e e l 0 0 e o l e l o ~

January 1973 49

1000 ISLANDS MUSEUM C R A F T S C H O O L CLAYTON.13624 N.Y, ABSTRACT ART, BATIK, DRAW- ING and DESIGN, DYEING, June 25 EARLY AMERICAN DECORA- TION, E N A M E L I N G , KILN- fhru BUILDING. LEATHER, PAINT- ING POTTERY, REVERSE PAINT- A - g - s ¢ 24, ING ON GLASS, SCULPTURE, STAINED GLASS. WEAVING, 1973. WOOD CARVING For further information wrlte to: Emily Post, Director m 10 Boudinet Street, Princeton, N.J. 08540 after June 1st to:

1000 iSLANDS MUSEUM (:RAFT SCHOOl. CLAYTON, 1000 ISLANDS, N.Y. 13624

The Banff Centre School of Fine Arts in the heart o] the Canadian Rockies. CeramiCs Courses all levels, Apr . t h r u Sept . O t h e r Visua l Ar t s Courses : D r a w i n g & P a i n t i n g W e a v i n g , P h o t o g r a p h y , F i l m / T V Also D a n c e , T h e a t r e Arts , Mus i c . F o r c a l e n d a r a n d full p a r t i c u l a r s w r i t e School of F ine Arts , Banf f , A l b e r t a , C a n a d a

DRYKILN DESIGN tools for the glassblower P.O. Box 7527 Fruitvale Station, Ca. 94601

/ Y / ~ Hand tools \ \ ~ [ ~ Pipes, pontils ~ , ~ ~ _ . . . cu!let

~" - [ Dealer Inquiries Invited f I Catalog $1 (refundable)

RUGGED Unique Kilns are designed and built by craftsmen. When you specify Unique, you get: durability and not planned obsolescence; re- liability in the rugged sense of the word; and, best of all, trouble- free performance.

Invest wisely and well. Buy your next kiln from Unique...the kiln people.

Uniqu Kilns HED Industries, Inc.

Box 176, Pennington, N.J. 08534 (609) 466-3500

N E W B O O K S Continued from Page 17

tain notes for the inexperienced potter, and more on wedging additives to clay. A glossary and bibliography are included. Photo- graphs in color and black and white. 159 pages. $9.95. Simon and Schuster, 630 Fifth Avenue, New York, N.Y. 10020.

RAKU HANDBOOK by John Dickersen Practicality is the keynote of this book on raku. A discussion of raku forms, materials, tools and their uses, and techniques is followed by some of the historical background surrounding raku. The many facets of clay are then considered, and included are suggested guides for the preparation of clay bodies and composition possibilities. Suggested methods of forming clay for raku firing, and decorative techniques typically used, follow. The author, currently a lecturer at Borough Road Gollege, Middlesex, England, interrupts the how-to portion of his book with a discussion of raku aesthetics, contrasting the fine arts status prevailing in the field of ceramics in Japan with that existing in other countries. Next, a chapter on drying and bisque firing includes details of three methods of achieving carbon shadow decoration. A detailed glaze section, easily un- derstood, contains instructions for methods of application. A section of 51 photographs includes historical and contemporary raku pots, texturing and decorating devices and firing processes. The chapter on kilns contains instructions and diagrams for building and firing. Appendices, world-wide list of suppliers, bibliography and glossary are included. Black and white photographs and diagrams. 112 pages; $7.95. Van Nostrand Reinhold Co., 450 W. 33rd St., New York, N.Y. 10001.

THE NEW HANDICRAFT PROCESSES AND PROJECTS by Lester and Kathleen Griswold Now in its tenth edition, the New Handi- craft Processes and Projects, first published in 1925, is a comprehensive volume which includes instruction on the following crafts: Basketry; bookbinding; ceramics; decoration of fabric, paper and wood; lapidary; leather craftwork; metal craftwork; plait- ing processes and projects; plastics, weaving, and woodwork. The chapter on ceramics gives historical background, information on preparation and testing of clay, instruction on handbuilding, slip- casting and wheel throwing techniques and projects, decorating possibilities, and con- cludes with a section on Indian pottery. The metal craft chapter contains information on enameling on copper. The authors state in the preface that it is their purpose in issuing the tenth edition to stimulate interest in crafts, help develop skills and provide means of sharing with others the joy of creative achievement. References and sources of supplies are listed. Blac& and white line drawings and photographs. 462 pages. $4.95, paper; $9.95, cloth. Van Nostrand Reinhold Company, 450 W. 33rd Street, New York, N.Y. 10001.

Advertisers Index January, 1973

A-1 K i l n M f r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 A e g e a n S p o n g e Co . . . . . . . . . . . . . . . . . . . . . . . . . 49 A l l e g h e n y R e a l t y . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 A l p i n e K i l n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6, 14 A m e r i c a n A r t C l a y Co . . . . . . . . . . . . . . . . . . . . . 8 A r t C o n s u l t a n t s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

B a n f f Schoo l of F i n e A r t s . . . . . . . . . . . . . . . . . . 50 B e l l m a n . W . J . Co . . . . . . . . . . . . . . . . . . . . . . . . . 38 B e r g e n A r t s & C r a f t s . . . . . . . . . . . . . . . . . . . . . . . . 16 B i l l i k e n P r e s s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 B i t t l e P r o d u c t s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 B l u e b i r d M a n u f a c t u r i n g . . . . . . . . . . . . . . . . . . . . 42 B v e n t , R o b e r t , Co . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 B u r t M f g . Co . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

C a l i f o r n i a K i l n Co . . . . . . . . . . . . . . . . . . . . . . . . . 49 C a m p b e l l , G i l m o u r . . . . . . . . . . . . . . . . . . . . Cove r 3 C a p i t a l C e r a m i c s . . . . . . . . . . . . . . . . . . . . . . . . . . 49 C a r r o l l t o n C e r a m i c s . . . . . . . . . . . . . . . . . . . . . . . . 46 C e n t r a l N e w Y o r k C e r a m i c S u p p l y . . . . . . . . 49 C e r a m i c C o a t i n g Co . . . . . . . . . . . . . . . . . . . . . . . . 10 C e r a m i c E x t r u s i o n . . . . . . . . . . . . . . . . . . . . . . . . . . 8 C e r a m i c S c o p e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 C e r a m i c h r o m e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 C e r a m l C o r n e r , I n c . . . . . . . . . . . . . . . . . . . . . . . . . . 48 C r e e k - T u r n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 C r e s s M f g . Co . . . . . . . . . . . . . . . . . . . . . . . . C o v e r 4 C r o s s C r e e k C e r a m i c s . . . . . . . . . . . . . . . . . . . . . . . 44

D a w s o n , W . P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 D i a l - A - G l a z e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 D r y k i l n . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 D u n c a n ' s C e r a m i c P r o d u c t s . . . . . . . . . . . . . . . . 3

E a r t h T r e a s u r e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 E s t i ' i n .Mfg. Co . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 E v e n h e a t K i l n Co . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

F o u n t a i n s f o r t h e H o m e . . . . . . . . . . . . . . . . . . . . 17 F r a n c o i ~ e C e r a m i c s . . . . . . . . . . . . . . . . . . . . . . . . . 46

G a r e C e r a m i c S u p p l y Co . . . . . . . . . . . . . . . . . . . 42 G l a s s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 G l a s s A r t M a g a z i n e . . . . . . . . . . . . . . . . . . . . . . . . 12

H i r o D i s t r i b u t o r s . . . . . . . . . . . . . . . . . . . . . . . . . . 4

I n d u s t r i a l M i n e r a l s . . . . . . . . . . . . . . . . . . . . . . . . 14

J a e q u e l i n e C e r a m i c A r t . . . . . . . . . . . . . . . . . . . . 10

K e m p e r M f g . Co . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 K e r a m o s B o o k s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 K l o p f e n s t e i n , H . B . & S o n s . . . . . . . . . . . . . . . . . 43 K r a f t K o r n e r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

L & L M f g . Co . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 L e s l i e C e r a m i c s S u p p l y Co . . . . . . . . . . . . . . . . . . . . 49

M a r u b e n i A m e r i c a C o r p . . . . . . . . . . . . . . . . . . . . 15 M a y e o Co lo r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 M e n e o E n g i n e e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 M i k o l M f g . Co . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 M i n n e s o t a C l a y Co . . . . . . . . . . . . . . . . . . . . . 17, 47

Oh io C e r a m i c S u p p l y . . . . . . . . . . . . . . . . . . . . . . 44 O r t o n C e r a m i c F o u n d a t i o n . . . . . . . . . . . . . . . . . . 47 O s c a r - P a u l C o r p . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

P e e i f i e a P o t t e r ' s W h e e l . . . . . . . . . . . . . . . . . . . . . 49 P a r a g o n I n d u s t r i e s . . . . . . . . . . . . . . . . . . . . . . . . . 4 P a r a m o u n t C e r a m i c . . . . . . . . . . . . . . . . . . . . . . . . 42 P a r f e x Co . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

R e w a r d . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 R i e h l a n d C e r a m i c s . . . . . . . . . . . . . . . . . . . . . . . . . 44 R o v i n C e r a m i c s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

S a c r a m e n t o C e r a m i c s . . . . . . . . . . . . . . . . . . . . . . 48 S e e l e y ' s C e r a m i c S e r v i c e . . . . . . . . . . . . . . . . . . . . 44 S k u t t C e r a m i c P r o d u c t s . . . . . . . . . . . . . . . . . . . . 46 S t a n d a r d C e r a m i c S u p p l y Co . . . . . . . . . . . . . . . 42 S t r o m g r e n a n d A s s o c i a t e s . . . . . . . . . . . . . . . . . . . 44

T e p p i n g S t u d i o S u p p l y . . . . . . . . . . . . . . . . . . . . . . 42 T h o m p s o n , T h o m a s C. , Co . . . . . . . . . . . . . . . . . . 8 T h o u s a n d I s l a n d s M u s e u m . . . . . . . . . . . . . . . . . . 50

U n i q u e K i l n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 U n i v e r s i t y C i r c l e . . . . . . . . . . . . . . . . . . . . . . . . . . 43 V a n H o w e C e r a m i c S u p p l y . . . . . . . . . . . . . . . . . 42 V i l l a g e C e r a m i c S t u d i o S u p p l y . . . . . . . . . . . . . . 46 W a l k e r J a m a r CO . . . . . . . . . . . . . . . . . . . . . . . . . . 46 W a y - C r a f t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 W e s t b y K i l n s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 W e s t w o o d C e r a m i c S u p p l y . . . . . . . . . . . . C o v e r 2 W h e e l c r a f t , I n c . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 W h i t a m c o . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

50 Ceramics Monthly

for HOBBYISTS • SCHOOLS • A R T & CRAFT CENTERS • INSTITUTIONS

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i ++

MODEL E-6 WITH 2 SIDE PANS

MODEL E-60aly $139.50 Less Side Pans

• More Powerful

• Easy to Use

SPEED V A R I E S

• Ball Bearings

• Easy to Clean

• Easy to Store

with foot pedal smooth as an automobile

PORTABLE Carry it with you anywhere

• Bats fit our hand wheels

• Each student may have own bat and place on hand wheel

without losing center

110 Volt - AC. DC. ONE YEAR SERVICE WARRANTY

With Water Trays • Clamp on without the use of tools

' + ' ° ° + ' ++ $15600 with I Side Pan •

~°°~ ~+ $17250 w+lho~ Side ~on, shown) •

PANS CAN BE PURCHASED SEPARATELY TO FIT YOUR PRESENT E-6 MODEL. $ 1 6 . 5 0 Each

~Y°:rO[)Be'a~et°°|t D~sfrlbut°r °r wrlt'e: G I L M O U R C A M P B E ' - M ~ ~ j l m l ~ " 14258 Maiden. Detroit, Michigan ,18213 (313) 568-0561

i e !

MODEL B-23

!i '~i ¸.,i ¸

m

i

. . . . .

q !

r-

,Q 1,,'" ,Q 1,,'" ~ ~ MODEL B-18

• / i

FIRE UP YOUR IMAGINATION Really big! Model B-18-H Automatic Inside it's 17 ½ inches wide and 18 inches deep. And only $182.

Even bigger! Model B-23-H Automatic This one goes deeper. 221/2 inches deep, 171/~ inches wide and only $202.50.

The biggest! Model B-27-H Automatic Spacious 233~ inches wide inside and 27 inches deep. Two rigidly fastened sections and six pilot lights make it easy to use. Only $353.

First, decide on a Cress Kiln. Cress lets you control firing speed with the turn of a dial.

All three of these models can fire anything through cone 6 with excellent temperature uniformity.

They're all durable, yet light in weight and have beautiful mirror-finish stainless steel sides.

But inside is where you' l l shine! So think about the size you need.

Write us for a catalog or see your dealer.

CRESS MANUFACTURING COMPANY Sales Information office, 1718 Floradale Avenue South El Monte, California 91733

Documents

the purchase of a gas kiln? - Ceramic Arts Network · the purchase of a gas kiln? |II m I I i!!ii!ii~i ii!ill ii~i;il i.~ ~ i li:ii ~i ~ ~ii~ If you are, we'd like to help you-not