! so 's greeti · cover design by william marshall ceramics monthly is published each month at...

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you can F IND i t..if y o u B I N D i t

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this handsome binder holds 12 issues

YOU will have no problem findinglast month's copy of "CeramicsMonthly"—or earlier issues you'vereceived—if they are neatly tuckedaway in this handy binder. Like mostCM subscribers, you will be referringto back issues for ideas and othervaluable information time and timeagain—so keep them handy in thishandsome library binder.

This durable cloth-bound binder isgreen in color and has "CeramicsMonthly" stamped in gold leaf onthe front cover and backbone forimmediate identification.

A steel blade holds each copy inplace. New issues are quickly andeasily inserted. Each issue will remainneat and fresh protected by the high

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KAL• FOR THE CERAMIC HOBBYIST •

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FLEGKELPASGOBES

an adventure intounusual pattern effects

Pemco Fleckel Pasgobes havetiny specks of real color mixedinto the pastel shades . . .color that stays in suspension. . . keeps its pin-dot formationwithout flowing. Permits youto put a pattern on figurines,vases, ashtrays and similarware — on clearly definedareas.

Six Pemco Fleckel Pasgobesare available — Pink, withmaroon specks; Yellow, withbrown specks; Pastel Green,with dark green specks; LightBlue, with dark blue specks;Tan, with brown specks; Gray,with black specks.

Unusual — artistic — individ-ual! If your dealer does notcarry Fleckel Pasgobes, sendus his name.

POTTtKY AKTS DIVISION

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Manufacturer of a world-famous line of glazes,colors and supplies fo" the ceramic industry.

a l e t t e r f r o t h e e d i t o r

Although the policy of the CM staff is to think aheadand plan for the future, we couldn't help day-dreaming abit as we assembled this issue because it concludes twoyears of Ceramics Monthly. We reflected on our earlyoperations, on the debut issue, and on the publisher'sstatement which appeared in that first number. We dwell-ed on one thought in particular in that initial statement:". . . here then is the line of communication so obviouslyneeded by individuals from all walks of ceramic life . . ."Was this fact or fiction?

". . . Obviously needed . . ."? In the minds of thepublishers there was no doubt that an obvious need didexist. Well, almost no doubt. There were occasions whenthey wondered if their own enthusiasm made a spark looklike a bonfire; however, when CM was put to the test,the intestinal butterflies were stilled. The initial responseexceeded expectations and the subscription list has grownsteadily ever since. Renewals and new subscriptions havekept the mailing list well above the 10,000 mark. AndCM not only reaches each of the forty-eight states, it goesto twenty-eight countries outside our own territorial limits,including such distant places as Burma, Hong Kong,South Africa, Turkey, New Zealand, Israel.

". . . All walks . . ."? Could a single publicationserve the many ceramic interests? Encouraging lettersfrom hobbyists, teachers, students, therapists, artists andcraftsmen indicate that CM does fill the bill.

If we needed any reassurance, this pause to reflectwould have reassured us that the idea for a magazinelike Ceramics Monthly was well grounded. And the re-view of recent letters from subscribers (a quick samplingappears in the "Letters" department on page 4) re-minded us that one must not spend too much time day-dreaming. Improvements will be made constantly, untilwe come closer to pleasing all of the people all of thetime. In fact, with our January 1955 issue, we will bringyou a modified format and enlarged scope. We hopeyou will be pleasantly surprised.

With best wishes for the Holiday Season from ourstaff and associates,

Yours cordially,

CERAMICS MONTHLY

Volume 2, Number 12 D E C E M B E R • 1 9 5 4 50 cents per copy

in this issue

A Letter from the Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Letters . . . . . . . . . . " . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

It inerary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

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

The Syracuse Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Enameling VI: Gold and Silver Foil . . . . . . . . Jean O ' H a r a 14

The Overglaze Page: Precious Metals II . . . . Zena S. Hoist 16

Decorating Lessons: No. 8mBirds of a Feather . . . . . . . . . . . 17

Last-Minute Pots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Answers to Questions . . . . . . . . . . . . . . . . . . . . . . . Ken Smith 20

I CM Briefs Operation Toadstool . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

First Prize Winner (1911) . . . . . . . . . . . . . . . . . . . . . . . . . 22

Marbleizing Liquid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Press Molds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Art Glazing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Enameling Trivet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Throwing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . Tom Sellers 29

State Directory: Where to Buy Supplies . . . . . . . . . . . . . . . . . 31

MORE about the Syracuse Show . . . . . . . . . . . . . . . . . . . . . . 33

Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Editor: Louis G. Farber Associate Editor: Mary Elliott Business Manager: Spencer L. Davis

Editorial Assoclate: Thomas Sellers

Art Director: Robert L. Creager Advlsory Editors: Carlton Atherton; J. Sheldon Carey; John B. Kenny Contributing Editors: Henry Bollman; Zena S. Hoist; Karl Martz; Jean

O'Hara; Dorothy Perkins; Kenneth E. Smith Cover design by William Marshall

Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis, President and Treasurer: k. G. Farber, Vice President; P. S. Emery, Secretary.

Subscription price in U.S.A. and Possessions: one year, $4; two years, $7; three years, $9. Canada and Pan America, 50 cents a year additional: foreign, add $1 a year. Current issues, 50c; back issues, 60c. Subscriptions, and advertising and editorial correspondence, should be sent to the editorial offices at 3494 N. High St., Columbus 14, Ohio. Entered as second-class matter at the post office at Athens, Ohio, as granted under Authority o~ the Act of March 3, 1879.

Copyright 1954 by Professional Publications, Inc.

All rights reserved.

PARAGONKILNS f o r e v e r y P u r p o s e

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IS YOUR KILN IDLE NOW BECAUSEOF A BROKEN ELEMENT?

It COULD be at any time. If YOU haven'tSILVER KING on your shelf, just THINK ofthe cost of new elements, to say nothing of thelong delay you might suffer.SILVER KING will quickly repair any opentype of wiring, old or new, high- or low-fire,little breaks or big ones. Sections of wire mayeven be taken out and replaced. OLD SLOW-POKE wires may be speeded up. Repairs canbe made rapidly—the average break takes lessthan five minutes to mend. No waiting. Youmay fire at once.YOUR Silver King is waiting to come to youby return mail as soon as we have your order.Send just $2.00 for enough for 20 repairs.SILVER KING CARRIES A MONEY BACKGUARANTEE.

ABRAZOHow about ABRAZO, friend? Have you triedthis amazing new product that will cut any-thing but a diamond ? Who wants to cut updiamonds, anyway? Do you know that you canlevel the bases of rocking ceramic pieces ? Doyou know that you can make leaning lampbases, figurines, and vases stand up straight?Do you know that you can take off glaze dripsand rough edges in a jiffy? You CAN, and theonly thing you need is a piece of broken windowglass or any other piece of flat glass and agenerous supply of Abrazo which is YOURS forjust $1.00 postpaid. ABRAZO has a money-back guarantee. It's a Kay Harrison laboratoryproduct, the sign of prestige ceramic materials.Make it a MERRY CHRISTMAS for you andyour friends by giving supplies from

the KAY HARRISON studios

8744 W. McNicholsRd., Detroit 21, Mich.UN 2-9222.

l e t t e r sReader Reactions asCM Concludes Second Year

Gentlemen:. . . I have depended on CM for my

"lessons." The instructions are easily fol-lowed; the step-by-step photos, priceless.Many thanks . . . I have been able to in-corporate the know-how acquired from CMin my work caring for the mentally ill.

RAYMOND DOTYValhalla, N. Y.

Gentlemen:. . . Thanks for such a fine magasine with

an atmosphere of art and helpful sugges-tions to the hobbyist . . .

IMOGINE E. REESEOdessa and JeannesLos Angeles, Calif.

Gentlemen:. . . But why not more for the hobbyist

on how to paint? I am primarily interest-ed in underglase painting, and need helpwith perspective for landscapes and otherscenes . . . and eyes and facial expres-sions . . .

LILLIAN HAMLINLos Angeles, Calif.

Gentlemen:The informative articles in your maga-

zine have been helpful to me, both in myown work and in teaching two classes aweek in Chicago. They are stimulating andconducive to new ideas; and, of course,it is good to see what the rest of theceramists are doing.

I do believe one branch of ceramics ismore or less neglected so far as the hobbyistis concerned and that is the field of glaz-ing. More articles on this subject, in under-standable terms, would be most welcome.

In any event, you have a good magazineand I would not be without it.

CHARLES L. PARISIFox Lake, 111.

Gentlemen:. . . Your publication is a godsend for

me and other high school teachers . . . Myown ceramic experience was very limiteduntil our School Board purchased kilns tobe used by the local high schools. It wasthen necessary for me to do all readingpossible and many weeks of experimentingbefore I could attempt instruction on alimited basis . . .

The other art teachers and our super-visor share my sentiments on CM . . .

MARGARET FULTON JENNINGSNorfolk, Va.

Gentlemen:. . . If you threw out the theory and

"why" information and put in twice asmuch "how to" you might have a passablemagazine . . .

VIRGINIA HENSENDetroit, Mich.

Gentlemen:. . . (CM) needs more material for the

serious students and potters. There isenough simple how-to information on themarket . . .

GEORGE ROSENBERRYChicago, 111.

Gentlemen:. . . We have decided to quit putting it

off and write you immediately to say thatnever before have we heard explained thebasis of design [Decorating Lessons] insuch clear, clean-cut terms. Universitieswould do well to incorporate these articlesinto their art design classes as well asceramic classes.

We personally intend to use them in ouradult drawing and oil painting classes. Wethink the September article especially willhelp tremendously in getting across, as youput it, the "middle-of-the-road" idea andopen up picture composition which is thestickler in such courses. Needless to say wewill use it in our ceramic classes too.

M. E. GRAHAMMeg-Len Fine Arts

East St. Louis, 111.

Gentlemen:. . . Could we do without those low

caliber design lessons?CLIFFORD W. ROSY

Sheboygan, Wis.

Gentlemen:The Art Department began taking your

excellent magazine on a year-trial basis whenit was first announced. We . . . have foundit an excellent magazine for teaching pur-poses . . .

CARL A. ROSEBERGCollege of William and MaryWilliamsburg, Va.

Quick Response

Gentlemen:Your November Special Issue just ar-

rived. I am thrilled with all the newideas. But at the risk of something orother I feel I should make a statement.

Since the new ideas concern our Christ-mas giving, and since it is the birthdayof our Savior and Lord which we celebratein this way, I think we owe Him the hom-^e,,°f not abbreviating His name with an"X" . . . Any way that we use Christmas,let's write it out and give Him due honor.

MRS. RALPH RASLERKendallville, Ind.

Gentlemen:[ tried the Christmas tree ideas and

they worked O. K.; then I made one ofmy own idea . . . You push soft claythrough a tea strainer and put each patchfrom the strainer on the [clay] tree. Theyform a design that resembles a fir tree . . .

MRS. G. E. MCCLELLANDButler, Pa.

Gentlemen:I received my November number in the

hospital, and the Christmas suggestions arefine but the humble cookie cutter was leftout.

The cookie cutter has many possibilities—toys, horns, stars, snowmen, gingerbreadboys, animals, etc. Gaily decorated, theyare lovely. The children of all ages lovethem . . .

I hope to be home soon to catch upon some of the ideas suggested in yourfine magazine . . .

MRS. E. J. HUMPHREYSBaltimore, Md.

CERAMICS MONTHLY

ake a fewIllustrations about 4/5 of actual size • Prices for pieces not pairs • Specify "Gold" or "Silver" finish.

EAR WIRES 25c doz., 2.25 gross, 1.95 gr. in 5 gr. lots.

EW3

EWl-9mm EW2-7mm for soldering EW7-15mm

DROPS • 30c doz., 2.50 gr.

DR2 DR1

EAR CLIPS. • 35c doz., 2.50 gr.

EC2 ECS

WIRES FOR PIERCED EARS

EWP1 EWP2 EWP4

Sterling or gold filled

80c dozen • 7.00 gross

C U F F L I N K B A C K I N G S

CL2—22c ea.1.80 dozen

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1.00 dozen

CL4—lOc ea.

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25c doz., 2.50 gr.

JUMP RINGS

R4

doz. R5

80c Ogross R7

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AH1AdjustableNecklace

Hooks15c doz.1.00 gr.

fo/doverCA3

Bracelet orNecklace50c doz.4.50 gr.

CA1 -Necklace

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BRACELET BLANKS • Each is complete withclasp and has links for six mountings.

BR1—Plain 35c ea., 3.50 dozen

Necklaces—(chain on each end) 60c ea., 6.00 doz.

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BR2 with 15mm discs—40c ea., 4.00 dozen

Necklaces—(chain on each end) 80c ea., 8.00 doz.

NO POSTAL CHARGES WHEN YOU ORDER FROM THIS AD — SEND YOUR ORDER TODAY!

"Cke Copper ComerThe following numbers can be hadin copperplate (and lacquered).Be sure to specify "copper."

EW1 or EW2—30 doz 2.75 gr.

DR2—35c doz 3.00 gr.

EC2—40c doz 3.50 gr.

Cll (cufflink) 1.10 doz.

CL4 (cufflink) ... ...1.00 doz.

COPPER BLANKS3A" round or square 25c dz., 2.50 gr.

1" round or square 35c dz., 3.40 gr.

I1/*" round — 51c doz., 5.10 gross

17/s" round — 1.18 doz., 11.00 gross

others listed in catalog

TRINKIT—the new, amazing and complete outfitthat makes it a snap to enjoy the fascination andfun of creating beautiful enameled jewelry. Justthink, each kit contains all the following: (1) 6tubes of brilliant enamels—red, blue, green, yel-low, black, white, complete with plastic screens.(2) Solid copper discs and squares—enough jew-elry parts to make 2 earrings, 2 pins, key chain.13) Spatula. 141 Brush. 151 Asbestos Board. And(6) The famous TRINKIT KILN . . . 4%" indiameter—heats to 1 500 degrees F. in just 4 min-utes—uses ordinary 1 1 Ov. A.C.-D.C. Solder withthis kiln too—a real little giant in what it does.Full instructions. TRINKIT comespacked for re-mailing, weighs 2 $«L95Ibs. Additional enamels and sup- J postpaidplies listed in our new catalog. with k i l n

PORCELAIN BLANKSwhite, ready to decorate.

5/i" round,!%" round or button >%" round or button]

IVs" round or button)]'/<" round, %" square}

others in catalog

Glazed,

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90c doz.

THE FIRST, THE ONLY COM-PLETE CATALOG OF JEWELRYFINDINGS & <SUPPLIESESPECIALLYFOR THECERAMIST& COPPERENAMELERi

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BERGEN ARTS & CRAFTS • DEPT. CLD. • 128 MAIN ST. • HACKENSACK, N. J.

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24 Translucent one stroke(under and over the

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15 Satina, one-fire colors(Satin and Gloss finish)

Matt Transparent Glaze

Mayco Mask — for maskingoff part of a design . . .

[ Paint on . . let dry . . Peel off!

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20 page mold catalog and in.struction leaflets for: UnderglazeColors • One Stroke Colors •Sotina Sell Glazing Colors •Mayco Mask — .50c

M A Y C Ocolors, inc.

10645 Chandler Blvd.Mail Address: P. O. Box 224

NORTH HOLLYWOOD. CAL

i t i n e r a r ySend show announcements early—Where to Show: Three monthsahead of entry date; Where to Go:at least six weeks before opening.

WHERE TO SHOW

INDIANA, South BendMarch 6-27

South Bend Art Association's 6th An-nual Michiana Regional Art Exhibition,for residents and former residents ofIndiana and Michigan, includes cer-amics. Jury; prizes. Fee $3. Entrycards, Feb. 22; work, Feb. 26. Writefor blanks to Art Asso., 620 W. Wash-ington Ave.

KANSAS, WichitaApril 11-May 11

Tenth National Decorative Arts-Cer-amic Exhibition. Jury; prizes. Fee $3.Entries due March 8-15. Write Mrs.Maude Schollenberger, Wichita ArtAssociation, 401 No. Belmont Ave.

NEW YORK, BuffaloMarch 2-April 3

21st Annual Western New YorkArtists exhibition at Allbright ArtGallery. Artists residing in 14 countieseligible. Mediums include ceramics.Jury; prizes. Fee: $2. Entry cards dueFeb. 2; work, Feb. 7. Write Miss Bea-trice Howe at the Gallery for blanks.

OHIO, YoungstownJanuary 1-30

Seventh Annual Ceramic and Sculp-ture Show for residents and formerresidents of Ohio, at Butler Instituteof American Art. Mediums: ceramics,pottery, sculpture in any medium andenameling. Jury; $550 purchase prizes.Entry fee, $2; packing, $2. Entries dueDec. 19.

WASHINGTON, SeattleMarch 6-April 6

Third Annual Northwest Craftsmen'sExhibition, open to Washington, Ore-gon, Montana, Idaho, British Colum-bia and Alaska. Ceramics, enamels,ceramic sculpture included. Jury; a-wards. Entries due Feb. 12. Sponsors:Henry Gallery, The Clay Club, andothers. Blanks ready early January—write Henry Gallery.

WEST VIRGINIA, HuntingtonFebruary 6-27

Enamels and ceramic jewelry to beincluded in American Jewelry & Re-lated Objects Exhibition at HuntingtonGalleries. Craftsmen living in U. S.,eligible. Jury; $1500 awards. Entrycards and work due Jan. 10; no fee.Sponsored by Hickok Company ofRochester, N. Y.

WHERE TO GO

CANADA, OttawaJanuary 1'30

Design in Scandinavia shows over 700j'ieces of mass-produced and hand-

(Please turn to Page 30)

HONESTLY NOW...ARE YOU FULLY SATISFIED

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IS IT TRULY WHITE?

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IS IT ALWAYS UNIFORM?

IS IT ACTUALLY NON-CRAZ-ING?

IF IT ISN'T, THENYOU SHOULD CONTACT

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AND LEARN HOW GOOD A GOODSLIP REALLY CAN BE!

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DEALERS INQUIRE

Distributed by

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CERAMICS MONTHLY

Essex Tile StackersNew! Different!! Better!!!

They Make Tile Firing Practical in Studio Kilns

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SAFERSTACKERS INTERLOCK FIRMLY

MORE COMPACTSTACK UP TO 14 TILES IN KILNONLY 11 INCHES HIGH

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ESSEX CERAMICS CORPORATIONESSEX TILE STACKERS • ESSEX BANTAM KILNS • SUPPLIES FOR COPPER ENAMELING

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r O R D E R B L A N K—O r d e r f r o m n e a r e s t p l a n t

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SEND me the following quantities of Essex Tile Stackers:CHECK D ! DOZ. (3 Sets of 4) $ 1.50 plus postage

AMOUNT rj 4 DOZ. (12 Sets of 4) $ 5.25 plus postageD 1 GROSS (36 Sets of 4) $14.50 plus postage

Add 20c on each dozen for postage and packing. (Illinois—add 2% Sales Tax.)

I ENCLOSE CHECK O MONEY ORDER O

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DECEMBER 1954

ceramic shopperInexpensive Kilns

An enameling kiln and a ceramictest kiln, each selling for only $20, arebeing manufactured by the Hi-TempEngineering Corp., 1020 Boylston St.,Newton 61, Mass. The test kiln, alsosuitable for jewelry and other smallpieces, fires to a maximum temperature

Double-Feature Brush"Two brushes for the price of one"

is the way Bergen Brush Supplies de-scribes the latest addition to their line.

of cone 04. The enameling kiln,which the manufacturer claims main-tains enameling temperature, featuresa recessed door which helps preventloss of heat. For further informationwrite directly to Hi-Temp; mentionCM.

This 7", well-balanced, red sable cer-amic brush has a complete brush ateach end of the handle, enabling theuser to work with two different colorswithout changing brushes. Available inthree sizes; complete details may beobtained by writing to Bergen BrushSupplies, 110 Stuyvesant Avenue,Lyndhurst, N. J., mentioning CM.

New China Painting BookA complete book of instructions and

discussion of theory on the subject ofchina painting has just been publishedby the decorator, Nettie Fillet. Theauthor covers the entire subject frommaterials and tools through brushstrokes, painting instructions formineral colors, enamels, gold, luster,etc. The hard-bound book, an excellentreference source of 159 pages, sells for$4.25 and is available from theCERAMICS MONTHLY Book Depart-

ment, 3494 N. High St., Columbus,Ohio.

New Tile StackersA compact, interlocking tile stacker,

enabling you to stack as many as 14tiles in an 11" deep kiln, is a newlyannounced product of the Essex Cer-amics Corp. The stackers are designedwith tapered inner sides to preventaccidental shifting of the tile and dam-age to the decoration or glaze. The

r • -

open construction gives perfect air cir-culation and the interlocking featureprevents even a tall stack from acci-dentally collapsing.

For complete details Essex asks thatyou write to the closer of their twoplants: 936 N. Cicero Ave., Chicago51; or Cedar Grove, N. J. Say CM.


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(Complete instructions with design patterns for CERAMASCOPE $1.25)

1985 FIRESTONE BLVD., LOS ANGELES i, CALIFORNIA

CERAMICS MONTHLY

suggestionsfrom our readers

Dowels for RollingThe large ceramic class in

the city school may not haveenough rolling pins to go a-round when a slab project isin progress. Wood dowel rodsone inch in diameter can becut into suitable lengths andused specifically for the pur-pose of rolling clay slabs. Theyare very inexpensive and makeexcellent substitutes for rollingpins.

—Vernon D. SeeleySeeley's Ceramic Service

Oneonta, N. Y.

Eliminate Stilt ScarMoving a metal-point stilt

in a very small circular motionagainst the bottom of a glazedpiece cleans off just enoughglaze to prevent the pointsfrom excessive sticking. Mostof the grinding of the bottomsis thus eliminated and in manycases there is no need forgrinding at all and the stiltcan be re-used.

—Harley R. HolladayHolladay's Ceramic Studios

Dodge City, Kans.

Mallet SubstituteI have come up with an in-

expensive substitute for themallet used in shaping or flat-tening copper for enameling.I use a furniture leg tip madeof rubber, or a crutch tip,placed on the hammer asshown in the sketch. These

tips are readily available andcost 10 cents or less. Theycome in various sizes so thereis little difficulty fitting aspecific hammer.

—Vern S. WhiteDearborn, Mich.

Ever since 'Wdlthers' Goowas recommended as an ad-hesive in our SUGGESTIONScolumns last October, in-quiries have come in askingwhere it can be found.Tracking down the ma-terial, we find it to be anold standby of the modelrailroaders. Any hobby orcraft shop should be ableto supply it. The product isput out by Walthers Manu-facturing Co., of Mil-waukee.—Ed.

Foot-rimming IdeaHere is an inexpensive de-

vice to facilitate the turningand finishing of pots.

To eliminate the need for,and hazards of, wetting a plas-ter bat or adding coils of clayto hold a pot in position forthe turning process, a special"turning bat" can be made.Cut, fit, and glue a rubberknee pad to a plaster bat. Withone hand used for an auxiliarycontrol, the rubber is suffi-ciently cohesive to hold thepot in place and resilientenough not to damage themost fragile lip.

If circles are inked on therubber, centering will be madesimpler as well.

—Dewey BeaudinWorcester, Mass.

Cast and Drape MoldIn making a one-piece mold,

instead of making vertical sidesand a flat bottom, I give theoutside of the mold a freeform shape. In this way I notonly have a drain casting one-piece mold, but also a drapemold or hump as it is some-times called. This saves timeand plaster, as well as valu-able storage space.

—Dorothy H. GroutPawtucket, R. I.

M a r k e t f o r I d e a sSend your bright Ideas to Ceramics Monthly — with photos orsketches, If applicable. We pay $1 to $5 for suggestions used In(hit column. (Sorry, but we can't acknowledge or return unused items.)

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NEW!Never before have therebeen so many features . . .so much quality built intoa kiln at such a price. Ithas a PYROMETER forvisual temperature reading,an INPUT C O N T R O LS W I T C H , G R A V I T YD O O R — C O U N T E RWEIGHTED, PILOT LIGHT,DYNA - GLOW PORCE-LAIN ELEMENT HOLD-ERS, and it's attractive. . . Plug it in anywhere!

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ILLINI CERAMIC163 W. Illinois St.

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SERVICEChicago 10,

MERRY CHRISTMAS . . . Time to pauseNo one works but Santa GlausPotters stop their work and worry . . .Pause a moment in their hurryDaily strife and struggles ceaseFor one day of simple peace.

HAPPY NEW YEAR . . . Let's get goingClay is waiting for the throwing . . .Pots are waiting for their glazeCan't just stand here in a daze . . .With resolution we'll all striveFor Bigger-Better potting in 1955.

S. PAUL WARD, INC,601 MISSION STREET

SOUTH PASADENA, CALIFORNIATels: SYcamore 9-2131 — PYramid 1-2552

10 CERAMICS MONTHLY

18th Ceramic National

THE

SYRACUSE

SHOW

A show so big and so popular that the entries have to go throughpreliminary regional juries throughout the country was displayed atthe Syracuse Museum of Fine Arts last month. This show is the CeramicNational, oldest of America's all-ceramic exhibitions. More than threehundred fifty pieces, drawn by a final Jury of Selections and Awardsfrom the largest number of entries ever submitted, comprised the exhibit.Among them were the pieces which won purchase awards totaling $2700.

The competition, open to professionals and amateurs alike, to crafts-men who make a living in ceramics and hobbyists who make ceramics forthe fun of it, is sponsored by the Onondaga Pottery Company and TheFerro Corporation together with the Museum.

Now an institution, the Ceramic National began in 1932 with anexhibition in memory of Adelaide Alsop Robineau (see story on Page22). Then and ever since, the monumental effort of the great show hasbeen organized by Anna W. Olmsted, director of the Syracuse Museum.It was put on an every-other-year basis when it grew to such proportionsboth in size and travel itinerary that it could no longer be handled asan annual. This is the First Bienniel and the 18th Ceramic National.

EXCLUSIVE statements to CERAMICS MONTHLY, from the mem-bers of the Final Jury of Awards and Selections, appear on the followingpages. The Jury: Paul Bogatay of Ohio State University, Chairman;Karl Drerup of New Hampshire State Teachers' College; and FransWildenhain of the School for American Craftsmen at Rochester. Thesemen, distinguished ceramists themselves, express opinions on ceramicstoday as reflected by the work entered in the competition.

Early in 1955, selected items from the exhibition, including prizepieces, will begin a long tour of the country, giving the people of manyregions a chance to see a part of the biggest and oldest of American all-ceramic shows. •

top to bottom

HARVEY K. LITTLETON$100 from American Art Clay Company

WALTER AND MARY K R I N G $100 prizefrom Harper Electric Furnace Corpcr-ation

Hui KA KWONG $100 PemcoCorporation prize

VIKTOR SCHRECKENGOST $500 first prize inceramic sculpture, from International Busines;Machines Corporation

PHOTOS: THE SYRACUSE MUSEUM OF FINE ARTSINSTALLATION BY GEORGE VANDER SLUIS

DECEMBER 1954

DEAN STRAWN $100 prizefrom Hanovia Chemical &Manufacturing Company

ARTHUR AMES, panel, $200 prize for enamelsfrom Ferro Corporation

PETER V O U L K O S $200 pottery prise J A Y N E VAN ALSTYNE $100 prizei by Onondaga Pottery Company from O. nommel Company

ROBERT TURNER $200 from Homer LaughlinChina Company

HENRY VARNUM POOR $200 UnitedStates Potters Association prize

RAYMOND YOSHIDA, triptych, $200 enamelsaward, from Thomas C. Thompson Corporation

ROBERT H. MEINHARDTCompany prize

$100 Iroquois China

Juror Paul Bogatay: "phenomenal development"The 18th. Ceramic National Exhibition seemsin general to be a better show than shows ofthe recent past. Though smaller, it is selectedfrom the greatest number of entries ever sub-mitted; nevertheless, it is not as good asmight be expected. With so many demands onthe ceramist by local shows, national showsand invitational shows, we may perhaps have arrived at the pointof diminishing returns. The potter at this time may be spreadinghimself too thin.

In jurying the show, certain weaknesses seemed apparent.In the group of enamel entries, technical means, style, preoccupa-tion with enamel "effects" and forced exploitation of the medium,too often submerge aesthetic values and basic requirements ofclarity in structure and organisation. The means in enameling canso easily overcome the ends and often do.

12

Ceramic sculpture, with exceptions, appears beset by clicheswhich reflect successes of the past. Technique, subject matter and"stylistic" elements tend to confuse the sculptor, sometimes tothe exclusion of his valid purposes as an artist. Too many entriesappear to have been designed to show, resulting in over-statementand over-emphasis on incidentals at the expense of unity andexpression.

Pottery in degree suffers from similar ailments; but here theweaknesses are less apparent. The obvious faults seem to berepetition of certain characteristics such as textural effects andtrite motifs in decoration and shape. Pottery forms from pints togallons, characterised by necks, some too small to accommodate apencil, were present by the dozen—many of them difficult todefend either as pure form or as "useful pots to put things in."

The weaknesses of the fringe (or is it the ground?) werein degree reflected in the core of the show which is essentially

(Concluded on Page 32)

CERAMICS MONTHLY

Juror Frans Wildenhain: "quality rising"Considering the youthof ceramic activity inthe United States itis amazing to see, aftera long dormant period,with what vitality thechurning process is re-

sumed, mirroring the geographical ex-panse of the country and the activitiesand personalities of its people.

Our aim in selecting for the CeramicNational was, above all, quality—to dis-card what is only mannerism, derivation,imitation, bad craft or premature workwithout originality; and to search for adirection which could answer the ques-tions: where do we stand—where are wegoing? No distinction is made between theteacher who submits his work for reasonsof prestige, the pupil who is eager andambitious, and the devoted potter—theleast self-conscious—who is struggling tomake a living from the work of his hands.

Quality, with the accent on female in-timacy or pronounced manly forcefulness,is obviously rising. We enjoyed the workof newcomers to the field but were some-times disappointed with the entries ofpotters who can, we know, do better. Thecall for color found response in thepotters' own way at Syracuse. As mostpotters are working in stoneware, bril-liant colors are limited. There are diverseopinions as to what is color. I feel nofunereal aspect exists: color is there.Bowls and bottles as usual predominatedbut the tendency toward richer and morevaried forms was present. There wereexcellent examples of integrated decora-tion as well as strong sympathy with, andcontrol of, the material.

Pottery can be dedicated to beauty only—but beauty not as a point of departurebut of arrival. Yet there is Epic too. Thecraftsman-designer in his trials and en-deavours can have influence on our chinamanufacturers. To this ponderous instru-ment, providing the everyday pottery ofour nation, goes the responsibility not onlyto improve the public taste but to con-

(Conduded on Page 32)

WAYNE LONG $100 gardenfrom Arcadian Landscaping

JOHN RISLEY $200 fr<F. Drakenfeld V Con

BF.TTV \V. FEVES $100 pn:Harshaw Chemical Company

NANCY WICKHAM BOYD $100 prise fromC. R. Crocker (f Company

-:

MORE about Syracuse Show Winnerson page 33

Juror Karl Drerup: "such diverse responses"Many media of artistic expression todaycompete for public attention by means ofexhibitions and publicity. The participantsin these contests form a broad front with theirmany interests and backgrounds. The cer-amists see within their ranks the humble aswell as the brilliant—hobbyists, commercial

producers and individual studio potters—bent on making theircontribution. The Ceramic National has become an event, wherean opportunity is afforded for all to make their statements, wherediversity is encouraged and rewarded.

Is it any wonder that the endeavours of so many arousecontroversy and partisanship? We hear "lack of color" lamented,or non-useful pottery decried . . .

In this year's Ceramic National, somber tones again prevailamong the many entries. "What has happened to color?" mightbe answered by pointing to the mass of gaudy ceramic ware whichassails the eye of the public through numerous channels. Ceramicsneed not be loud in statement in order to be called colorful. Theunderstatement of subtle color should have its place, though itmight not be called "popular."

The potter and sculptor, to whom the media of clay andfire are not only a way of producing useful objects but also ameans of expression, can hardly feel encouraged to participatein a great free-for-all in order to state their rightful places

(Concluded on Page 32)

DECEMBER 1954 i <

1. Protect foil: A small sheet of metall ic foil is placed in- side a folded piece of tracing paper. Foil is always handled and cut in this manner.

2. P ie rce holes: Tiny holes are pricked in the foil to pro- vide for the escape of gasses which collect under foil in the heat of the kiln. Without openings, it would be blown up off the surface, rarely settling back in the intended position. A pointed tool is used here but a needle would be better because it leaves smaller holes. Needles inserted, points up, in o cork (at left) make a handy devise for piercing foil.

3. Cut the shape: A foil shape, called a "pai l lon," is cut out with a knife. The blade is very sharp so it will not make a ragged edge on the fall (manicure scissors are also excellent for the purpose). The dots you see in this photo were put there to show where the punctures were made earlier. The shadow of the fall can be seen through the tracing paper.

4. L i f t and set in position: Foll should never be handled because fingers may deposit grease on the surface. The cut-out shape is picked up, here, with a slightly moist brush, the thin metal adhering easily to the brush. White points of light show where the fall has been pinpricked. The shape is set in position on a prefired enamel-coated panel which has been sprayed with gum solution. Excess moisture around the fall will be blotted up with cleaning tissue. Then a small fold of tissue will be used to push the fall down, forcing moisture up through the pinholes to be ab- sorbed. When it goes to the kiln, the pail lon must have no moisture underneath to boll up and displace the foil.

ENAMELI NG VI: GOLD

by JEAN O'HARA

Richer and more beautiful effects are obtained in enameling when transparent colors are used on gold_or silver

metal instead of on copper--but the price of the precious metals is prohibitive for most of us. W e can, however, simulate the depth and glow that come from the costlier metals if we use gold and silver metallic foils under trans. parent colors. You purchase these foils in sheet form; they look much like gold leaf except that they are heavier and are pure metal. When you work with foil, it is always applied to prefired enamel, and covered with transparent color. The procedure for using this metallic material is demonstrated in the photos on these pages, where a flat panel is decorated with a combination of foil and stenciled shapes.

Before using foils, the beginning enameler will want to know how they affect the various transparent colors. He can make tests very easily. Simply cut one small piece of gold foil and one of silver, and fire them on one of the transparent color samples made previously (a sample where transparent color has been applied either directly on copper or over flux}. Then cover the foils with a coat of

Continuing her series of demonstrations of various enameb ing techniques, lean O'Hara here shows how to wor k with metallic foils. This young Cleveland craftsman frequently uses foil in her own distinguished enamelwork. Rich quality is characteristic of Miss O'Hara's pieces.--Ed.

5

f t h b " . . o r e e g , n n e r

SILVER FOIL

the corresponding transparent color, and refire. Repeat the procedure for each of the transparent colors in the palette. Incidentally, in testing you find that the warm colors become more intense on gold foil, and the cool colors more cool on silver.

A word about the overglaze colors which have appeared frequently on demonstration pieces made for this series of articles: this type of color is good to use for fine detail or accent areas (dots, lines, etc.,) as well as for special purposes such as shading. Overglazes are finely ground ceramic colors suspended in heavy oil; they are purchased in this form and applied by painting on with a brush. Like lusters, they must be thoroughly dry before firing. As for firing temperature, all you need do is follow the manufacturer's instructions which usually call for 1400 ° F. Overglazes, when properly fired, have a shiny surface; underfiring results in a mat surface, while overfiring causes the overglaze to sink into the enamel or to disappear en- tirely. And, finally, a word of caution about overglazes. Save them for that extra touch that heightens the beauty of enameling but be wary of overdramatic effects. •

S. Smoothing down: The panel has been fired at 1300 °- 1350°F., for perhaps one minute. Now while stiff hat, the [oil is smoothed down with a kitchen knife {a burnisher is usually used). It is all too easy to rip the foil. But it must be flattened, and all edges must be "down," adhering to the enamel coat. If the piece cools during the operation, it must be reheated. On the other hand, foil should not be overheated while it is in the uncovered state (without transparent coating).

6. Stencil addi t ion: We turn aside to add a new shape to the panel by the slft-and-stencil method. This is to econo- mize on firings (the fewer firings, the better for the piece). Stencil and toll will be fired together.

7. Cover wi th t ransparent : Foll must always be covered with transparent color. It can be applied by the wet-lnlay or the sift method, whichever is simpler at the time. Here, wet enamel is inlaid. It is thick enough to cover the paillon completely after firing, but not so thick as to dim the effect of the foil. If enamel draws back during firing, exposed foil has to be re-covered with a second, thin coat of enamel.

8. Fired: Transparent glaze covering the foil heightens the textured effect and glow. Notice the shaded left side of the stenciled shape: this was achieved by sifting a deeper color an top of another color before the firing.

9. Finished panel: Decoration has been developed with the addition of more stenciled shapes and black overglaze lines. Glowing at the back is the metal toll shape,

GOLD CELL plate by the author has complicated design done in gold foil, gold luster, transparent colors and black enamel lines.

T H E

By Z E N A S . H O L S T

Precious Metals II: How to Use Them

Keep a separate palette knife formetals if possible; and by all meanskeep separate brushes not to be usedfor anything else. (Kinds of brushessuitable for metal decoration were sug-gested in the September issue.) Formetal designing there are handy tools,such as a gauge for marking lines, aflexible ruler, and a circle divider; abanding wheel with an armrest is quiteessential for describing bands, bordersand parallel lines around the rims ofdishes.

Your brushes, knife, empty glassslabs and bottles should be cleaned indenatured alcohol. This alcohol is keptpermanently in a jar with screwonlid so that the metal washings can bereclaimed.

Whenever possible, stay away fromusing turpentine with metals. Althoughit can be used for cleaning and formixing with pate metals there is a dis-advantage: turpentine is an enemy ofliquid metals and we often intermixthe pastes and liquids in which case wemust stick to oil of lavender for mix-ing and to alcohol for cleaning pur-poses. It is less confusing, therefore, touse those mediums which are best forall our purposes. Pastes that have beensoftened with oil of lavender may beextended with liquid metals for basiccoatings on dinnerware. For softening,the oil of lavender may be omitted andthe liquid metal alone used; the pastefor the last application, however,should be kept as much pure paste aspossible so that it will burnish nicely.(Be sure to use pure oil of lavender,not garden lavender which is a syn-thetic.) Paste metal looks like meltedchocolate but is of quite solid con-sistency. It is best to work into theedge of the pate with a few drops of

Last month, Mrs. Hoist described thevarious precious metals. Here she ad-vises the decorator on the fine points ofpreparing and applying them.

the oil of lavender. Mix with a paletteknife until you have a creamy con-sistency for smooth application, andmix only a portion as needed.

Paste metal is applied in a very thincoating. Do not allow it to pile up,or the brush strokes to show. Forsmooth painting, keep adding oil oflavender as needed. Too thin a coatingis better than too heavy because re-peated applications and firings arenecessary in any case. Be precise inpainting one coat over another betweenfirings so that the edges are even, orthey will show up as double edges afterfiring. Remember to clean piece to bedecorated with alcohol and tissue paperbefore applying any kind of overglaze:tissue does not leave lint and alcoholremoves all finger marks.

Liquid metals seldom need anyspecial preparation for application;usually they are ready to use. Set thebottle at a slant in a wad of plasticmodeling clay to prevent tipping whenyou dip in it. Work directly from thebottle. Manufacturers say: "Do notshake liquid metals before using be-cause a trifling sediment might impairthe perfection of the painting." Oneexception is the liquid coin (Roman orBurnish) gold which does not remainin suspension; because of purity ofcomposition it must be shaken thor-oughly before using. Cheap liquidmetals that have been diluted will bedifficult to apply. They have a ten-dency to run, so avoid buying adulter-ated metals for hand painting. If theliquid seems too thick for smooth appli-cation, add a small amount of oil oflavender, only a few drops at a time,or use the essence made specifically forthe purpose. Gold luster may also beused for thinning, but again there maybe a tendency toward running. Forpen work and very fine brush lines,the metal must be of quite heavy con-sistency, so it is sometimes necessaryto pour some of it into a small open

dish where evaporation will cause it tothicken. (A great deal of metal workof the filigree type is done with a pen.)

Metals are applied to edges of disheswith the forefinger. Dip the cushion tipinto the prepared paste or liquid andrub it around the edge of the dish. Donot pick up too much metal at onetime. If it is smooth on the finger, itwill go on smoothly and with veryeven lines along the edge, something al-most impossible to do with a brush.

When applying metal to freshlypainted china, do not come close to thecolor because it will pull away andleave a black or purplish line. Metalwill also pull away from wax chinapencil marks in a curdling effect; if ap-plied over graphite lines from a trans-ferred design, the lines will show afterthe firing. When filling in a designwith metal, first go over the designpattern with India Ink. This ink willfire out. If you wish a permanent blackor color, then use the mineral pigmentsand fire first. If the sugar formula isused with the minerals for outlining, itmay be allowed to dry thoroughly andmetals may be applied next to theselines without a previous firing.

For cleaning up any irregularities ofdesign or band of paste metal, usealcohol and a stiff brush, a sable beinggood for this purpose. For large clean-up spots, use a tooth pick with a tinybit of cotton wrapped around the endand wet preferably with saliva. Salivais so good a cleaning agent that nothingelse will work as well for removingliquid metals from china. The liquidmetals are so strong that even whenthe area seems to have been cleaned,it may show up with a purple castafter firing. If the metal has dried,use acetone (fingernail polish remover)to soften the area to be cleaned andfollow with alcohol or saliva. To re-move fired metals, use a commercialremover; hydrofluoric acid may be


16 CERAMICS MONTHLY

Deeoratinq Lessons . . . . . . . . . . . i . . . . . . .

No. 8

BIRDS OF A FEATHER

Ideas enough for a l i fe t ime come f rom the study of

birds. The decorator extracts dist inct character-

istics and decorat ive qual i t ies . . .

/

Fish were used as subjects from which the designer could take off on his experiment with stylization and adaption in "Decorating Lesson No. 7" [October]. This month we turn our attention to birds. Each of us has had an opportunity during the spring, summer and autumn to observe many kinds. Even the most heavily populated areas have birds, though restricted in variety, which can be carefully watched and studied with an eye toward decoration. And even though most birds have now migrated South, Northern- ers still have a chance at least to study turkeys, ducks and geese (before they

appear on the dinner table for the holidays). The manner in which birds have adapted themselves for flight, wading,

running, protective and mating coloration has given them many characteristics which can hold the designer's attention indefinitely. Many features vary with environment and the nature of the species such as the long legs and necks of the waders, the webbed feet of the swimmers, the special wing development of the sailing birds. Each of these special features gives individuality to various birds. Domestic fowl as a rule are more generously upholstered and lack the racier lines of wild birds. These obvious differences in form will be noticed first.

Look, next, for the relationship of the parts, the way in which they are adapted to their special functions and how this adaptation affects their forms-- the bill may be long and pointed, curved and lethal, short and stubby. In like manner the heads, necks, wings, tails and bodies vary considerably according to their special requirements.

Perhaps the characteristics which come to mind first are the wings and feathers, for these are what distinguish the bird from most" other creatures. The


-4

LAST-MINUTE POTS. .So Much Effect

Any object that leaves a clear imprint can be used for pressingdecoration in clay as shown by the pieces here. For the demon-stration piece below—a spool, washbowl plug and curtain hook.

phe season of gift-making has caught up with theceramist: harried and hurried, we want to turn out

unusual, attractive pieces quickly. And here is a last'minute suggestion for achieving maximum effect withminimum effort.

Roll out a slab of clay; stamp or impress decorationson the soft clay as it lies on the table and cut a shape thatpleases you from this decorated clay; drape it on a humpmold (decoration underside) and pat lightly. That's all thereis to it except for glazing and firing.

When you use the impressed clay and drape moldtechnique, no two pieces need be alike in either decorationor shape. The possibilities for designs to press into the clayare limitless. You can find any number of intriguing ready-made "stamps" around home—in the tool chest, sewing bas-ket, even the washbowl! Anything that will make a definiteimprint—rope, spool, drapery hook, washbowl plug, fabric

roll out cloy ... impress decoration . . . shape on mold

8 CERAMICS MONTHLY

for So Little Effort

—can be used, separately or in combinations. Just be surethe stamp makes a strong impression that will not beobliterated during the patting-on-the-hump process butcome through with clear if somewhat softened line. Whenglaze is applied, it will flow into and over the indentationswith most pleasing results.

As for shapes, any number of different ones can becut from the clay, and you can further alter the shapes bydraping them over different sections of the hump. Glazes,too, offer another opportunity for individualizing eleventh'hour creations.

For more ideas, you might refer bac\ to previous issues ofCERAMICS MONTHLY, especially to Karl Martz series,"Decorate with Clay" (September, October, December1953,), and to Tom Sellers' article, "Create with Slabs"(February 1954).—Ed.

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answersto

questionsCONDUCTED BY KEN SMITH

Q. What is the easiest way to color clays and slips'!

A. If you have grinding and mixing equipment, you cancolor clay bodies and slips with oxides of such minerals as cobalt,copper, manganese, iron and so forth. The mineral oxides arestrong in coloring power and to obtain evenly colored clays with-out specks, they must be thoroughly ground with the clay.

A much easier source of color is a body stain or dry under-glaze color. These are finely ground and can be mixed with thedry clay or added to the slip, producing even colors withoutgrinding.

The intensity of these colors may not be as great as theoxides: however, dark-colored bodies and slips can be made if ahigh enough percentage is used. The amount to use depends onthe color desired. Cobalt blue colors are strong and from 3-5 percent of dry color should be sufficient. Other colors are weaker andmay require from 10-15 per cent.

Q. I have heard that epsom salts can be used to create poolglazes. Is this true1

A. Yes. If you are interested in trying the technique, ex-periment on a small test piece using small amounts of epsom salts.The salts can boil in the kiln so put plenty of kiln wash on theshelf around your test pieces.

P. I had been using a prepared casting body which requiredonly the addition of water. Recently I changed to a body whichrequires additions of soda ash and sodium silicate [electrolyte]plus water. This slip does not release easily from the mold and itleaves a brown coating on the cast piece and on the mold. Whatis wrong with the slip? Can it be salvaged? Can the mold becleaned up?

A. It appears that you have added too much electrolyte.The brown scum on the mold and on the surface of the cast pieceis usually caused by an overdose of sodium silicate. The darkcolor may come from lignite which is present in some clays andcan be brought to the surface on drying by the excess deflocculant.

The slip can be made usable by adding to the deflocculant-rich batch an equal quantity of slip which does not contain anydeflocculant. You will have to experiment with it to get it tobehave just right.

It would be difficult to clean the face of the mold withoutscratching or marring the surface. Sometimes the scum can beremoved by successive casting in the mold with white slips that donot have this scumming tendency.

Trouble shooting by remote control is, at best, quite a trick.

To make !t work, we must have all the details about yourproblem. Be sure to include all information that is pertinent.

Direct your inquiry to Questions Editor, c/o Ceramics Monthly,3494 No. High St., Columbus ]4, O., enclosing stamped replyenvelope. Questions of general interest appear in this column.

CERAMICS-MONTHLY

1711 :¸)

operation toadstool.., operation toadstool...

Call ing the y o u n g e r s e t - - l e t ' s go. A ceramic toads tool is fun. I t ' s j u s t a m a t t e r of a p inch pot ( the cap) and a roll of clay ( the s t em) . Bonnie d e m o n s t r a t e s the process for us.

1. She has p inched out the cap shape f rom a ball of clay held in the pa lm of he r hand , and made a fa t , squa t roll of clay t ap e r ed toward one end fo r the s tem. Now the cap is f i rm enough so she can a t t a c h the s tem. To make i t s t ick to the cap, she uses th ick slip made f rom the same clay, and presses f i rmly on the base of the s t em wi th he r f inger .

2. W h e n the clay is t h o r o u g h l y dry, Bonnie decorates . She uses unde rg l aze colors because they a re easy to b r u s h on, and w o n ' t rub off or smear . Besides, t he re a re so m a n y

colors to choose f rom. Bonnie ' s clay will f i re to a da rk red color and she selects yellow unde rg l aze for the spots. I t dr ies immedia te ly . Now she will cover the piece wi th c lear glaze, b ru shed on w i th a l a rge b rush . Two coats will prob- ably be enough, one coat b r u s h e d in the opposi te d i rec t ion to the o the r to make sure of a t h o r o u g h cover ing job. Only the bo t tom of the s t em is le f t ung lazed so t h a t no s t i l t i ng will be needed in f i r ing .

3. The g l i s ten ing , yel low-spot ted toadstool s t ands alone. Bu t Bonnie m a y decide to make a l ep rechaun or elf to s i t b enea th it. Or p e r h a p s a smal l toad to perch on t o p - - a f t e r all, i sn ' t t h a t w h a t a toads too l ' s for ?

Phi l A llen Columbus, Ohio

DECEMBER 1954 21

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first prize winner (1911). . . first p

This is the delicately wrought, intricately carvedScarab Vase which helped restore American artceramics to a position of prestige and respect nearlya half a century ago. Adelaide Alsop Robineaucreated the piece at a time when the ceramics pro-duced here were held in such low esteem that thepublic and museums, generally, would purchase onlyimported ware. The situation was so bad thatcraftsmen were apt to fake foreign labels to hidethe native origin of their work. We had no contem-porary ceramic shows and Americans were hardlyencouraged to compete in European exhibitions.

The ceramic climate was dismal indeed when Mrs.Robineau began to create her now-famous porce-lains. She had begun her career as a china painterand, dissatisfied with the blanks available for herto work on, had gone over to making her ownshapes—although she had only the merest scraps oftraining in pottery making. But Mrs. Robineau wasa determined woman, an intrepid ceramist. Shebelieved in the creative work she was doing.

In 1911, despite the dim prospect of being ac-cepted—she didn't dream of winning—she entereda group of her porcelains, the Scarab Vase amongthem, in the International Exposition at Turin,Italy. By this act alone she rescued the reputationof American ceramics—her work was not only ac-cepted at Turin but awarded the Grand Prize ofthe exhibition!

Mrs. Robineau's achievement was the booster shotour ceramics needed. And during her lifetime, thistalented woman continued to play a prominent rolein the movement which re-inspired and re-estab-lished the craft in the United States.

The story of the Scarab Vase itself began in1910 when Mrs. Robineau and her husband, Samuel,contracted to work in a pottery operated by theAmerican Women's League of St. Louis, their pro-duction to become the organization's property. Dur-ing the assignment, Mrs. Robineau created theScarab Vase, sometimes known as "the thoucand-hour vase." Her husband was intrigued, so much sothat he offered the League's president $1000 forthe piece whether it came through the kiln-firingin good or damaged condition. But the offer wasrefused.

"Next day we opened the kiln," Mr. Robineauwrote later, "and to our great dismay the preciousvase was found with two or three big gaping cracksaround the base."

The cracks could have been hidden with paste andthe vase preserved as an imperfect, but Mrs. Rob-ineau would not hear of it. With characteristicpersistence, she painstakingly filled the cracks withground porcelain, reglazed the piece and brought itthrough the second firing in perfect condition. Herhusband now coveted the vase more than ever butthe League would not part with it. Ironically, how-ever, the organization failed owing the Robineausmoney, and, through this circumstance, the piececame into their possession.

The Scarab Vase now stands in the permanentcollection of the Syracuse Museum of Fine Arts.This is the Museum that co-sponsors the CeramicNational (see Syracuse Show, Page 11). When thisall-ceramic exhibition was founded in 1932 it wasnamed, fittingly enough, "The Robineau Memorial."

CERAMICS MONTHLY

ize winner (1911)

CMbriefs

Photo: Syracuse Museum of Fine ArtsOUTSTANDING*

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Ideal for school, studio, home use . . . The famous B & IPottery Maker, first in the field, is still first in value and inprice! Simple operation, rugged construction, with all theversatility required by professional workers! Many built-infeatures . . . ADJUSTABLE arm rests; BUILT-IN water con-tainer; VARIABLE speed drive; QUIET bronie and babbitbearings; ADJUSTABLE foot-pedal control; UNUSUAL sizerange.Before you buy, Write B & I ... get full, free details; Point-by-point, we challenge comparison on QUALITY features . . .Our price is still the best in the field!B & I Pottery Maker shipped complete, less motor, f.o.b.factory, Burlington, Wisconsin, for only $57.50.

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marbleizing l iquid. . . marbleizii

A crackle or spider web pattern, like the one shown inthe photo, is easily obtained with marbleizing liquid if theproper procedure is followed. Here, in a nutshell, is theway it is accomplished. Marbleizing liquid is applied overan unfired coat of gold, luster, mineral pigment or anyoverglaze material. When the piece is fired only a crackledpattern of the overglaze is left with the original coloras background.

The pattern in the photo is liquid bright gold over awhite background, and the detailed procedure used is asfollows.

The object to be decorated must have a glossy sur-face. This surface is carefully wiped free of dust anddirt, and a solid coat of liquid bright gold is applied. Whenthe gold has dried to the tacky stage, the marbleizingliquid is brushed on with a clean, wide brush. Since caremust be taken to cover the entire surface, you will find iteasier to make the application during daylight hours whenyou can see the piece clearly. The veining or cracklingmust develop before firing; it occurs as the liquid dries,usually within a day. The piece is then fired.

The width of the cracks and the pattern in generalwill vary, depending on the length of time the gold isallowed to set before the marbleizing is applied. As acontrol, I would suggest your applying the gold, or what-ever the crackled coating is to be, to a small test piece atthe same time you apply it to the main piece. You canthen touch the test piece at frequent intervals to determinethe degree of tackiness and so avoid disturbing the sur-face of the main piece.

All color combinations are, of course, possible. Thepiece can first be decorated with underglaze, overglaze,or colored glazes. The only requisite is that the surfaceyou work on must be a glossy one.

Wanda ThrasherModel CeramicsAkron, Ohio

• Watch the next issue of CM for

• S P E C I A L A N N O U N C E M E N T, concerning the• THIRD ANNUAL• EASTERN CERAMIC HOBBY SHOW

CERAMICS MONTHLY

CMbriefspress molds. . . press molds. . .

Press molds are where youfind them; in fact, they'rewaiting for you to find them!When I see glasses, vases,pots, pans, even broken ob-jects — almost anything — Iask myself: "How can I usethat with clay?"

"But what is a pressmold?" the beginner withclay may ask. The answeris simply that it's a mold

you press clay into. Usually they are made of plaster. Butmy press molds aren't, and yours needn't be. They can beof practically anything—plastic, china, wood, tin, rubber.

Did you ever make a pie crust—roll out dough, lay itover a pie plate, press it gently down to fit properly in-side the pie tin, and then trim away the excess dough witha knife ? That's exactly what I had been doing the day I dis-covered that I could use pie-making in ceramics and thatpress molds are where you find them.

I rolled out a thin sheet of clay and, searching thekitchen cabinet, I came on a pear-shaped plastic dish thatseemed to beg for a chance to be a mold. It worked! (Seephoto above.) I found dozens of other things right undermy nose that could be used for press molds—a wooden saladbowl and a leaf-shaped plastic dish (see photos right),measuring spoons for earrings, a coaster for a big brooch,

and bottle caps—these priceless for earrings, checkers andbuttons.

The possibilities are endless, but try simple thingsfirst. Objects which have minute or intricate carving or de-sign are not satisfactory.

The mold need only be rinsed with cold water beforeuse; it should never be wiped out with grease or other oilysubstances. Use care in pressing the clay into the mold forthe quality of the finished product will depend largely onyour patience and skill here.

Let the clay stay in the mold until it can be removedwithout forcing; usually it will shrink away from the wallsand drop out easily. If a little prodding is necessary, do itwith a pointed tool; and smooth away rough spots later.

You may have some failures in your clay pie-makingbut don't bs discouraged and don't give up. And good luckwith your press molds—wherever you find them!

Violet Brown ShayNew Orleans, La.

FOR THE HOME . . . .

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The growing popularity of Ceramics in the home is exemplified bythe feature articles in the October 1954 issue of House BeautifulMagazine. You too can add beauty to your home with Ceramic objectswhich have been decorated with Ceramichrome "California's FinestColors".Ceramichrome offers a wide range of beautifully exotic glaze andunderglaze combinations which harmonize exquisitely with any con-temporary, provincial or Early American decor.For your convenience we have prepared a Special for the Hobbyists.It is a Manufacturer's Introductory Kit containing 12—1/2 ounce jarsof Ceramichrome's most popular colors in Underglazes and Glazeswith complete instructions that sells for only $3.25 Net, Postage Pre-paid. Sorry, No C.O.D.'s.Please order direct—don't wait—order now—immediate delivery

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Whether amateur or skilled artisan . . . you'll find the smooth motorizedoperation . . . ease of control in the BIG, all'Steel precision builtMASTER POTTER'S WHEEL enables you to originate beautiful, dis-tinctive pottery excelling anything you've ever done before.Massive steel construction completely encloses mechanism to exclude clayand moisture . . . assures operator safety and provides vibration-freeperformance. Other features ordinarily found only in expensive wheelsinclude: pre'lubricated bronze bearings for quiet, long service, con-venient arm rests, adjustable wedging wire, large 18" throwing tablewith plenty of working space and a removable water cup. 10" throwinghead has joggles for easy centering, underside reverses for castingplaster bats.You have complete hand freedom at all times . . . smooth instantchange of speed from 30 to 150 rpm is controlled by a foot pedal.Easy to use, even for handicapped persons. Use any '/t HP motor.Standard J/4 HP motor $16.95 when purchased with Master Potter'sWheel.MASTER POTTER'S WHEEL Floor Model, Item 47b,Wt. 90 Ibs. Lists at $175.00—Factory price $89.95MASTER POTTER'S WHEEL Bench Model, Item 47a,Wt. 45 Ibs. Lists at $125.00—Factory price

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art glazing. . . art glazing. . . art

An art glaze without effortor special materials is theway you can describe thistechnique. The runny spilleffect was created with ordi-nary glazes: a transparentgloss glaze and a white

_.j opaque.The method is to first

brush on (or dip or spray) a glaze which will be quite fluidin the kiln. Apply it heavier at the top to promote evenmore flowing. Then brush a white opaque glaze aroundthe top and fire the piece as you would normally.

The glazes will react to each other producing mottlingand other effects in addition to the drip effect. The resultsare not always desirable, of course, and test pieces shouldbe made first, trying different combinations of glazes tomake sure the reaction between the glazes will producepleasing results.

Mary Ann DowdChicago, III.

enameling tr ivet . . . enameling ti

Here is an enamelingtrivet that's easy to makeat the last minute to fitthat odd-shaped piece orthat tiny piece you're hav-ing difficulty stilting forfiring. It consists of threenails supported in a smallpiece of insulating brick.

Use stainless steel nailsto prevent fire scale orash from forming andflaking off on your en-ameled piece. Fowl skewers are ideal and they come invarious lengths, too.

The nails are easily pressed into the friable brick; theangle and particular arrangement will depend, of course, onthe size and shape of the piece you are firing.

Hazel MarcusNew York City

Back Issues of CM AvailableThe following back issues of Ceramics Monthly areavailable at 60c per copy (Ohio Residents add 3%sales tax). We Pay Postage. Please send check ormoney with list of back issues desired.

1953—April, July, August, September, October, November,December.

1954—January, February, March, April, July, August, Septem-ber, October, November.

26 CERAMICS MONTHLY

ceramic shopper

(Begins on Page 8)

Electric SprayerA glaze sprayer with jeweled sap-

phire nozzle designed for long wearis available from the Jane Snead Cer-amic Studio. No air-compressor isnecessary; the light weight unit shown

here is complete. To operate, youmerely plug into any household outlet.Write for full information to 174 ElmSt., Bridgeport 3, Conn. Say CM.

Holiday Plate MoldsIn tune with the Christmas season

are the original plate molds designedby Trinity Ceramic Supply. The sixdesigns, each a raised decoration, show

holly and deer; book and music; pinecones and candles; winter scene; aWestern Santa; and snowman andfamily. These 10" molds can be boughtindividually or as a set of six. Writefor details to Trinity Ceramic Supply,100 Howell St., Dallas, Texas.

Enameling BookletA 24-page booklet giving step-by-

step illustrated directions on enamelingcan be had by sending 25c to theAmerican Art Clay Co., 4719 W.16th St., Indianapolis 24. Ask for theenameling booklet which was an-nounced in CERAMICS MONTHLY.

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Weight 250 pounds — Price FOBRiver Rouge, Michigan $179.50—Crating charge $8.50—Read the fullstory of the new Foster Wheel inthe September issue of CeramicsMonthly Magazine, page 7.

I FRAME-AM steel-electrically welded con-struction.

I FLYWHEEL—Cast iron-finely engineered forba lanced w e i g h t —instant precision con-trol— silent smooth, sen-sitive operation.

I KICKBAR—Solid steel—free moving bar—linkage adjustable forheight—easily convert-ed from standard left toright foot operation.

I BEARINGS-Shaft inself aligning ball bear-ing suspension—otherbearings all Oilite.

FINISH —The tray inbrilliant yellow —theframe in attractive matblack.

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DECEMBER 1954 27

our suggestion for yourVALENTINE andMOTHERS DAY

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(Begins on Page 16)

used but is treacherous for the fumeswill burn the skin.

The best burnishing tool for thepaste metals is a spun Fiberglas brush.Polish after each firing and beforeapplying another coat.

Burnishing sand applied with adamp cloth is often used to polish pastemetals. It gives a more brilliant polishthan the glass brush, but is harsh unlessa good base of metal has first been ob-tained through several fired applica-tions. Jewelers' rouge is good for re-polishing dinnerware when the metalseems dull or tarnished after a lengthof time. The rouge is also used for bur-nishing liquid coin gold. Polishing theedges of dishes with the glass brushseparates the fibres and is difficult todo. Here, it is best to use an agateburnisher, rubbing with the side of theagate. If a metal rubs off in burnishing,it has been underfired or not appliedheavily enough. The harder theglaze of the ceramic body, the pret-tier the metals will be when properlyburnished.

When unpleasant effects are presentafter metals have been fired, they comefrom any one of a number of causes.There are such defects as crackling,waving, cloudiness, frosting and pow-dering. Not firing at the correct finish-ing temperature, depending on the typeof ware decorated, is the cause of agreat deal of trouble. Use my firingchart published in April issue of thismagazine. Metals require a longerventing period than do color pigments.If the temperature is increased too fastat the beginning of the "smoking-off"process, a crust will form on top of themetal before the volatile substanceshave a chance to burn out. Othercauses of failure are either too thin ortoo heavy an application, and use ofthe wrong kind of metal (fluxed orunfluxed). •

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Send Today$1.00 for Mold Catalog that is reallyunusual. Completely illustrated variety ofmolds including Figurines, Animals, Christ-mas items, Angels, Planters, etc. Catalogalso includes many suggestions for decor-ating greenware produced from our molds',also sketches for painting eyes and feat-ures. Liberal discount to Bona FideStudios. $1.00 deductible on first $10order.

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28 CERAMICS MONTHLY

O T H R O W I N G T I P S

The question is often asked: "Is itbetter to throw directly on the wheelhead or on a plaster bat?" Each methodis better—depending on the shape youare going to throw.

Certain shapes, particularly bowls,or pots that flair out at the top, caneasily be distorted if they are cut fromthe wheel head and removed withlifters. The problem can be minimizedif the pot is allowed to stiffen on thewheel before being removed. This in-troduces another problem, however, ifyou want to use your wheel again im-mediately. In this case throwing on abat would be the more convenientprocedure.

Some wheels have reversible throw-ing heads and plaster bats that fit intothese heads. If a wheel head cannot bereversed to receive the bat, you canfasten a plaster bat with clay keys orwith slip. What I prefer and use ex-clusively when I want to throw on abat is a commercial, unglazed tile.

Tiles are easily attached to the wheelhead; they hold securely, yet they areeasily removed. Other advantages: theyare readily available and inexpensive;you eliminate the need for pouringbats; there is no storage problem withthese thin tiles; and you can keepenough on hand so that there is neverdanger of running short.

Here is a procedure for using a tilebat which I find works best.

1. Brush thick slip on the back of adry tile.

2. Lay it immediately on the dry

Y

by TOM SELLERS

wheel head—while the slip is stillwet. Center it by sight—the con-

' centric rings on the wheel shouldmake it easy to find direct center.Press down with both hands whilemoving the tile slightly back andforth. In a matter of seconds, thetile will "freeze" firmly in place.

3. Use a small amount of clay to sealthe four sides and prevent waterfrom working under the tile.

4. Wet the surface of the tile byrunning water off the ends of yourfingers or squeezing a small sponge.Throw down your ball of clay at themoment the water begins to dis-appear from the tile's surface.

5. To remove the tile from the wheel(after the pot is thrown), scrape theclay away from the four sides andgently pry under one corner with aflat blade.

6. To avoid distorting the piece, pickthe tile up without abrupt move-ments—and set it down gently bysliding it onto the drying shelf, with-drawing your fingers gradually fromunderneath.

One word of caution. When youstart to center, use gentle, easy motionsso that you do not tear the tile loosefrom the wheel head. Although it doesstick securely, it is not as firm as.thewheel head itself.

Next month, in a full-length, illustra-ted feature, Tom Sellers shows how tomake foot rims on thrown pots. — Ed.

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i t inerary

(Begins on Page 6)

crafted items selected by top Scandi-navian designers. At National Galleryof Canada.

KENTUCKY, Louisvillethrough December 15

Designer-Craftsmen U.S.A., at J. P.Speed Art Museum, shows more thantwo hundred handcrafted objects bycontemporary Americans. Representsall parts of the country.

KENTUCKY, LouisvilleDecember 10-January 3

Dutch Arts and Crafts, contemporaryand including ceramics. Circulated bySmithsonian Institution. At J. B. SpeedArt Museum.

LOUISIANA, New Orleansthrough December 19

Pre-Columbian Art, 80 examples ofwork produced in Ancient Mexico andCentral America from 1500 A.D., toapprox. 500 B.C. Includes decoratedpottery, small modeled figurines. AtIsaac Delgado Museum.

NEW YORK, New Yorkthrough December 23

Annual Christmas show and sale atGreenwich House Pottery, 16 Jones St.Workrooms open to visitors.

OHIO, Youngstownthrough December 19

Autumn Annual for Area Artists atButler Institute of American Art.Sculpture, ceramics and other crafts.

OKLAHOMA, Tulsathrough January 3

German Ceramics, a traveling show,has sixteen pieces, most of them glasedstoneware, done by ten leading artist-teachers of Germany. At Philbrook

•Art Center, 2727 S. Rockford Rd.

SOUTH CAROLINA, ColumbiaDecember 10-January 3

Italian Arts and Crafts, contemporaryexhibition circulated by SmithsonianInstitution. At Columbia Museum.

WASHINGTON, Seattlethrough December 24

Carlton Ball's ceramics shown at HenryArt Gallery.

exciting . . .new . . .

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30 CERAMICS MONTHLY

DECORATING LESSON:Birds of a Feather

(Begins on Page 17)

wing is a beautifully developed pieceof equipment, usually divided into fiveparts roughly similar to the humanhand, the thumb and each finger hav-ing different feathers. The manner offeather growth, the way in which thewing space is divided, and the varia-tion in shape, size and marking of thefeathers, can furnish a designer withsufficient ideas to keep him occupiedfor years. Notice the patterns madeby the feathers, the manner of imbri-cation—which resembles the scale ar-rangement on fish but is usually morecomplex.

Besides the differences of shape,color and pattern, you will find thatbirds have widely divergent personali-ties. The designer should try to capture

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at least some of this spirit. The innatequalities of the bird are of much great-er importance than simple outwardresemblance. There is much greatersense of power in many heraldic eagles,for example, than a lifelike renderingwould produce. This is one of themeans at the disposal of the designer—as we have said before—the emphasisof certain elements in the motif andthe subordination of others in orderto achieve the desired effect such asis used in caricature. Birds lend them-selves remarkably well to this kind oftreatment so make drawings of birdsfor study, then try to call attentionto the qualities which distinguish onefrom the other. You will find some areproud and well preened, others areruffled and tousled; some are alert andactive, others lethargic and indolent.Make many attempts to present thereal character of the bird. See if youcan capture the spunky spirit of thebluejay, the hautiness of the peacock,the clucking contentment of a chicken.

You might look carefully at repro-ductions of various types of designs,not to copy but to see how variouspeoples have interpreted the bird. Thestylisation and easy casual treatmentin European folk art demonstrate im-mediately the attitude of these peopletoward the subject. The North andSouth American Indians show much

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greater sophistication in which the birdform often becomes a symbol not evenreadily recognisable but beautifullyworked out in dark and light arrange-ment. The Far Eastern Orientals showcomplete understanding of the subjectand, with their mastery of the brush,were able to set down their impres-sions with the greatest economy ofline.

When you have made drawings,select one which appeals to you andmake many attempts in different waysto extract as much character and decor-

ative quality as possible from the draw-ing. These variations may resemble theoriginal or be so stylised as to losetheir identity.

These studies can next be used asmotifs for decorations on pots ofvarious shapes. Here again many trialsshould be made before deciding onthe final scheme. Keep all of these,even if they are of rapid, sketchy form,in a notebook for reference material.Although they may not measure up toyour standard of excellence, you willfind these trial runs of great value. •

DECEMBER 1954

Just FilledWith New Ideas!

Yes, Ludwig Schmid has just finished afour of Europe, covering over 10,000miles. He has plenty of new ideas . . .and exciting, new models are available.Why not write today. Send $1.00 formold catalog. It will be refunded on firstmold order.

LUDWIG SCHMIDart ceramic studio

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SYRACUSE JURORS-

(Begins on Pages 12-13)

Bogatay—

solid. The core does justify the great effortthat goes into the national shows and is anindex of the phenomenal development ofceramics in America. Nothing can takeaway from the achievement at Syracuse as itrepresents the best efforts of our ceramistsand of the staff of the Museum.

It is possible, however, that ceramistshave reached a point of maturity whichindicates a need to assess the foundationsin order to continue to build a soundlystructured house for the future. This meansboth an evaluation of ceramic art educa-tion and a critical look at the values, pur-poses and directions in the field at thispoint. Critical comment has value only if itinfluences the effort of individuals to assessvalues which may bring about a betterunderstanding of problems and a change indirection of effort. It is with this objectivein mind that one accepts jury responsibilityand the writing of a statement such as this.

Drerup—as artists. They f ind themselves in a minor-ity, criticized all too often for their failureto conform or praised for their originality-at-all-cost. Their contribution in research,experience and artistic integrity is simplyovershadowed by a massive commercial pro-duction of objects, most of them meaning-less and sentimental in character . . .

There is in our day no true relationshipto a colorful or imaginative folk art, wheretradition can temper the tastes and effortsof public and craftsmen alike. The con-temporary craftsman, isolated from broad:nfluence through his work, is given toexperimentation, not unlike his fellow ar-tists in other fields of creative expression.In his search for a meaningful position inour society, he can hardly be expected toturn his efforts toward the useful aspectsof his skills alone: mass production hastaken that away from him.

We see therefore the influence of a wide-ange of interests and backgrounds present-~.d at Syracuse. Only America can bringforth from its craftsmen such diverse re-sponses. To the observer at Syracuse itbecomes evident how rich and lively is the-ontemporary ceramist's response to the age-old challenge in his search for that intimaterelationship of hand and mind.

Wildenhain—

stantly stimulate it. It is here that industrymust look to the potter who today playsan increasingly important role on the Ameri-can scene, and through cooperation seek forthe qualities which will give impulse andTlavor to our stale mass production. Thepossibilities are limitless. I was lookingat Syracuse for potters to fill this role: Ifound the group small but promising.

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CERAMICS MONTHLY

MORE about Syracuse Show Winners

Details about prize-winners at the 18thCeramic National (photos of pieces onPages 11-13) are given below. Com-ments by Final Jury are in italics.

OArthur Ames, Claremont,California: "Night Watch"—12"Hx6"W; enamel panel;stylized figure. S u g g e s t sRoualt or stained glass. Bril-

liant reds, blues and gold—very rich colors.

Nancy Wickham B o y d ,Woodstock, Vermont: FlowerPot— 10"H, 6? Bowls; "dec-oration best integrated toform"; pot: dark black brownclay with earth pink inlay; bowls: earthcolors. Leaf design has much harmony.

JURYlotionhain's

mmembers' work, shown by invita-includes Bogatay's "Buck," Wilden-bottle-vase, Drerup's enamel panel.

Betty W. Feves, Pendleton,Oregon: "Three Figures"—17"H; white mat glaze.Figures have rhythm, finecontours—not mannered.

Walter and Mary Kring,Worcester, Massachusetts:Bowl—4"H x 8"D; copperred stoneware. Luscious ox-blood—fine piece in color.

Hui Ka Kwong, Brooklyn:Bottle—9"H; wax resist dec-oration. Interesting semi-ab-stract design in blue, red andblac\ on pale gray.

Harvey K. Littleton, Verona,Wisconsin: Sphere—12"H;stoneware, decorated. Subtlywrought—has direct qualitywith great economy of means. ' Jt

r I Wayne Long, Los Angeles:I "Feline" - - 10"H x 20"L;

•_'reen glaze. Design of circles! acids to basic ceramic quali-

J ties. Excellent as a gardenpiece.

Robert H. Meinhardt, Stur-bndge, Massachusetts: Tea-pot—5"H, Sugar Bowl HCreamer—2Vi"H; stoneware,pale gray; "best functionalpottery." Graceful, unpretentious, excellentin simplicity of design.

Henry Varnum Poor, NewCity, New York: Bowl—6"H x 6"D; copper red, semi-abstract tree decoration.Lively design with rich huesof red and blue.

John Risley, Middletown,Connecticut: "The Trio"—16"H; stoneware. Solid andsimple; highly stylized, it pre-sents the true p.otter's feeling.

Viktor Schreckengost, Cleve-land: "White Antelope"-24"W x 24"H; glazed stone-ware. Decorative values add-ed to structural quality—

wonderful flow of line. He also won Archi-tectural Ceramic Sculpture Competitionwith "Early Settler" architectural sculpture,$100, Federal Seaboard Terra Gotta Corp.

Dean Strawn, Hughson, Cal-ifornia: Bottle—12"H; stone-ware, reduction. Simple, goodfiotting — ceramist abstainedfrom decorating, except fordar\ spec\s on the surface. Unison betweenform and glaze.

Robert Turner, Alfred Sta-tion, New York: CoveredJar—5"H x 8"D; stoneware,reduced copper decoration,design of terra cotta circles

on gray. Simple, well-proportioned, excellentpotting.

Jayne Van Alstyne, Boze-man, Montana: Pot—10"H;stoneware, reduction, ironslip decoration. Has genuinespontaneity in its design oflight gray sunrls on brown, suggesting livingfol\ art at its best.

•••B^BB Peter Voulkos, Los Angeles:I Covered Jar—23"H; carvedI slip, celadon glaze, pink, blueI and green. Stylized design of* heads and birds which has

real vigor—a limited, restrained palette,very successful.

Raymond Yoshida, Chicago:Triptych—9"H x 7"W. Atrue type of champleveenamel. The symbolic design,gold and turquoise on dar\blue, suggests the Orient; or perhaps amixture of East and West.

Advertisers IndexDecember 1954

Alberta's Ceramic Studio 28Angelo Brothers 30Artex Mfg. Co 30

B and I Mfg. Co 24Bergen Arts 5Bergen Brush Supplies 32Bray, Archie, Foundation 30Brock, Laurine, Ceramics 30Buell, C.M., Kilns 28

Ceramics and Art Supplies 32College Institute 32Cooky's Designs 32Cox, Florence, Ceramic Studio 29Craftools, Inc 23Cranbrook Academy of Art 32Creek-Turn Pottery 28

Detroit Fabricating Corp 1

Essex Ceramics Corp 7

Gare Ceramic Supply Co 30

Harris, Charles, Co 28Harrison, the Kay, Studios 4Holland Mold Shop 22Hommel, O., Co 19House of Ceramics 6

Illini Ceramic Service 10

Kernian Krafts 25

L and L Mfg. Co 10

Maryland China Company 28Mason Instrument Co 26Master Mechanic Mfg. Co 26Mayco Colors, Inc 6McDaniel Mold Co 28Model Kilns 23

Natural Ore Glaze Co 28

Paragon Industries 3Pemco Corp 2Pillet, Nettie E 30Pollock Studio 32

Re-Ward 8Rovin Ceramics 27

Sahuaro Molds 30Schmid, Ludwig, Art Ceramic Studio. . .32Sculpture House 28Seeley's Ceramic Service 32Snead, Jane, Ceramic Studio 32Specialized Ceramics Corp 22Stewart Clay Co 27

Tepping Studio Supply Co. 6-28

Thompson, Thomas C., Co 20Trinity Ceramic Supply 9

United Artist Materials Co 24

Vogel, Hilda, Studio 32Vollmers Ceramic Studio 30

Ward S. Paul, Inc 10Weatherby Products 30Winthrop Ceramic Supply Co 29Wolfe, Jack D., Inc 30

Patronize OUR Advertisers. . . and when you do, tell 'em CM sent you

DECEMBER 1954

Booksfor

Schools

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nese are selceramic bookswhich will offeryou good instruc-tion, enjoyablereading, andready referencesources. Usecoupon below forordering.

HOfNUNG-S HANDBOOK

DESIGNS&m

DEVICES

e Pillrl

All titleslisted here aresold on amoney backguarantee.

DESIGN FOR ARTISTS AND CRAFTSMENLouis Wolehonok

One of the best books on design, It will proveinvaluable to pottery and sculpture enthus-iasts as well as decorators. Covered In care-ful detail are geometric form, flower andplant form, bird and animal form, humanform, and man-made form. The 1280 illustra-tions include about 400 flower and animalmotifs readily adaptable to pottery. 207pages, oversize format, cloth bound. $4.95

EARLY AMERICAN DESIGN MOTIFSBy Suzanne E. Chapman

A valuable reference and idea source, it in-cludes Pennsylvania Dutch and many others.343 illustrations with 10 in full color. 8" x 11"cloth bound. $3.95

A MANUAL OF HISTORIC ORNAMENTBy Richard Glazier

The authoritative text is illustrated with 700sketches and plates in full color showingexamples from Byzantium, China, France,Pompeii, Persia and many others. Extensivebibliography and detailed index included.6"x9'/2" format, 184 pages, cloth bound.

¥3:50

CHINA PAINTING Nettie E. PilletA small but useful book offering basic in-struction for the beginning china painterand a reference source for the teacher ofthe art. Step-by-step procedures for paint-ing overglaze decoration on artware anddinnerware. 159 pages; hard bound. $4.25

DESIGN MOTIFS OF ANCIENT MEXICOBy Jorge Enciso

A compilation of 766 examples divided intogeometric, natural and artificial forms. In-cludes designs based on flowers, birds, fish,human figures, and many others. Clothcover, 8"xl l" format, 170 pages. $3.95

DECORATIVE DESIGNS FOR CRAFT ANDHOBBY By Frances JohnsonA designer and potter, the author presents350 designs, many in full size, with sugges-tions for proper colors. Oversize format (10"x!3") , 72 pages, paper bound. $3.00

HANDBOOK OF DESIGNS AND DEVICESBy Clarence Hornung

Basic designs and variations include thecircle, line, scroll, curvilinear, fret, shield,and many others. 1836 sketches, 240 pages,5"x8", paper bound. $1.90

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