m w m v m l • • u ~ nn

x . ~ ¸ - , . . . . . . . . ~ . . . . .

o ~ . ~

i l p

• . . by Ann Chapman of Cleveland, won first prize

for sculpture in the 17th Ceramic National. A clay body mixed with grog was covered first with a blue- green, then a black engobe. Sgraffito decoration revealed both the blue-green engobe and the clay body. Amaco was proud to illustrate this sculpture of strong basic structure in their 60-page text, CERAMIC DECORATION. • • • Are you planning a complete ceramic department or studio? Carefully shopping for a completely UL approved pottery or metal enameling kiln? Or, seeking perfectly matched clays and glazes? In Amaco's 56-page catalog, you'll find everything you need for pottery and metal enameling.

Send for catalog today.

Our Big New '62 Supply & Equipment Catalog

42 pages of Decals • 16 pages in Color • 144.8'/~" x 11" Pages

These products shown

in FULL COLOR:

FRANCES Perma Stain

DUNCAN'S E-Z Flow Products

TRU-FYRE, King of Colors

PETERSON 3-Way Fired Stains

AFRICANA bisque colors

MACK China Paints

REGAL hobby molds

EX-CEL dry glazes

EX-CEL Flowertex clays

and many other items

( [ I~AMI I~ "

SUPPLY ANO EQUIPMENT CATALOG ,62

• : lllbll

Z4m ~11HE~ ~ E . / V l L L ~ I , V r l i j l n ~

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M E M P H I S B, T E N N .

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• n r l o i i i i i i ~ i i i i

It looks so easy. . . Admittedly, children should never be left to fire a ceramic kiln, but our Skutt Kilns are so easy to operate that children think they can. Advanced design and engineering have made our kilns ideal for use in schools, studios, and workshops. For example, all four models have a completely reliable automatic shut-off to prevent over-firing . . . plus dust-proof lids that eliminate sifting. And you can fire a Skutt Kiln everyday without forced cooling! We also manufacture an excellent electric Potter's Wheel. For more detailed information about it or our kilns, please write:

C E R A M I C K I L N S • 2s2o s. E. STEELE STREET

0 • PORTLAND 2, OREGON

4 Ceramics Monthly

M O N T H L Y

V o l u m e 10, N u m b e r 7 S e p t e m b e r 1962

Let ters to the Edi tor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Suggest ions f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . . 9

Answers to Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

The Technique of Enamel ing by Kathe Berl . . . . . . . . . . . . 12

I t inera ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Beginning with Clay by Hal R iegge r . . . . . . . . . . . . . . . . . . 14

Ceramics in the Educat ional P rog ram by Alieia Rahm __16

The Hibachi by Don Wood . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Naples Yellow from Raw Glazes by Richard Behrens . . . . 21

Bisque S tamps for Decora t ing by Richard Peeler . . . . . . . . 22

Glaze Pr in t ing Techniques by Mare Bellaire . . . . . . . . . . . . 24

Cut t ing Glass by Kay Kinney . . . . . . . . . . . . . . . . . . . . . . . . 26

Engobes for Color in Salt Glaze by F. Carl ton Ball . . . . . 28

Show Time: Toledo Area Ar t i s t s Exhibi t ion . . . . . . . . . . 29

Bay Area Ar t s and Craf t s Guild . . . . . . . . . 30

Cleveland May Show . . . . . . . . . . . . . . . . . . . . 32

CeramAet ivities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Index to Adver t i se rs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

On Our Cover

Features from this month's special "Back-to-Work" issue are

depicted on the cover. The Knight on the left is part of a

wheel-thrown sculpture by Elizabeth Hell which won Second

Place in the Bay Area Arts and Crafts Guild exhibition (Show Time); center is a detail from a Stoneware Bottle by Charles Lakofsky exhibited in the Cleveland May Show (Show Time); and in the panel on the right are students from a ceramic class

at the Montclair Museum Art School (Ceramics in the Educa- tional Program).

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAOKR Business Manager: SPENCER L. DAVIS Circulation Manager: MARY RtSSItLEy

Advisers and Special Contributors: F. Carlton Ball; Marc Bel- h i re ; Kathe Bed; Edris Eckhardt; John Kenny; Kay Kinney;

Zena Holst; Karl Martz; Ken Smith; Don Wood.

Western Advertising Representative: Joseph Mervish, 6717 Gen- try Ave., Box 3115, North Hollywood, Calif: TRiangle 7-7556.

Copyright 1962 Pro/essional Publications, Inc.

CERAMICS MONTHLY, September 196'J. Vol. 10--No. 7. Published

monthly exeept July & August hy Professional Publieations. Ine . - -

S. L Davis, Pres. , P.S. Emery• See.; at 4175 N. Nigh Street, Columbus

14, Ohio. Entered as seeond elass mat ter at the post office at Athens, Ohio, U.S.A. Subserlptions: One Year $5: Two Years $9; Three Years $12. Copyright 1962. All rights reserved.

DRAKENFELD CLAYS an(] GLAZES GO TOGETHER! DRAKENFELD clays and glazes are made for each other--are the right combination for better ware. Here are a few suggestions. Give them a trial and convince yourself.

C L A Y S

CONE 06

CONE 06

White Casting Clay 68203 • . . just add water and adjust to proper consistency. The slip improves with age.

White Plastic Clay 68204 • . . comes in moist form, ready to use for model ing or throwing on a wheel.

G L A Z E S

Cone 06-04 Glaze (Majolica)

Cone 06-02 Ve l lum Matt Cone 06-02 Matt

Cone 07-02 Crystalline Cone 07-02 Crackle Cone 07-02 Fancy Art

These glazes produce sparkling r e su l t s - a re available in a wide variety of colors• All are specially designed

for Cone 06 f i r e -dange r of crazing, shivering, blis-

tering, pinholing, and crawling is greatly minimized.

3 0 BRILLIANT CERAMIC C O L O R S Ready /or ittstant llse! No . . . .

has 15 liquid colors, 2 multi-purpose brushes and

deep colors are easy to mix for intermediate shades or with white for pastels. The ~ ~ Underglaze Colors can be ~i used for Engobes or Slip l Stains. Use on raw or bisque ware. I oz. per jar. ~'< Complete set $5.00, plus postage. Tile Overglaze Colors make china painting a rea l pleasure. Three +.- . costly colors inc luded: ..... ..... I.: ~ : : : : ~ . . , Pink A-1644; Maroon A- 1645; Purple A-1649 (con- tains gold compounds) . 1/10-lb. per jar. $11.00, plus postage.

WRITE FOR FREE CATALOG.

Here is complete in format ion on clay bodies, pre- pared glazes, overglaze and underglaze colors, pyrometr ic cones, banding wheels, l abora tory mills, and pot te r ' s wheels. Prices included for every item.

" ro.' enfen, B. F. i)RAKENFtLD & CO., INC.

-P,,.

Share your thoughts with other CM read- ers--be they quip, query, comment or ad- vice. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, 4175 North High St., Columbus 14, Ohio.

EYE OPENER

• I would like to see another article, or articles, similar to David W. Laughlin's ("Creatures Made on the Wheel," March 1962 CM). What an eye opener for any hobbyist! Fanchon M. Pierce

Ft. Walton Beach, Fla.

ENJOYED INDEX

• We enjoyed the CM index in the Jan- uary (1962) issue, and would like to inquire whether you are selling any separate indexes and if so, the cost for one or by the dozen. I 'm sure you know how much we all enjoy CM.

Mrs. C. E. Gehrke, Librarian Ceramic League of Miami (Florida)

The nine-year in.dex was not printed separately, but copies of the January 1962 issue still are available at sixty ce.nts each. - -Ed.

LETTERS RED FACE DEPARTMENT

• Surprised and glad to see my slab-built construction method ("Family of Pots," January 1961) used as the basis for the "Teacher's Pet" in the May issue. I have had much response to this idea out here in Kansas and have seen many variations of Pilgrim Pots throughout this part of the country.

A suggestion to Mr. Heiple: to elimi- nate tedious welding or seaming, one could start with a pattern similar to the one illustrated by Kathe Berl in her May 1962 article describing the construction of enameled paperweights.

Richard (Peeler) L. Miller Lindsborg, Kansas.

CM inadvertently gave credit for the Pilgrim Pot construction to Richard Peeler instead o[ Richard L. Miller. Apologies are in order and are given, with a very red lace! Mr. Miller makes a very good point of the fact that articles on enamels or other ceramic techniques can often be adapted with great advantage to clay work.--Ed.

ON FORMULATING GLAZES • My husband and I look forward to re- ceiving Ceramics Monthly. We particularly

enjoy the articles on wheel work, but every issue has something of interest for us. Of interest to us would be an article on materials and equipment necessary for formulating glazes. We would like to try if it could be done without too much equipment in the beginning.

Shirley Barnes, Greenfield, Ind.

In the June 1955 issue o/ CM there is cm article, "Mix Your Own Glazes" by Sally Gallaway, which describes a method of mixing glazes using only equipment tound in the kitchen and easily-obtainable materiaIs.--Ed.

SHOW TIME COVERAGE • We have recek,ed the copy of the May issue with its generous coverage of "Arts of Southern California--XI: Designer- Crafts." All the effort that went into the organization of the exhibit was rewarded in that recognition; all of us are most appreciative. The queries and requests for bookings that have resulted again signify the vital role CM has among its reader- ship; this, most certainly, a compliment to you and your staff.

Jason D. Wong, Promotion Assistant Long Beach (California) Museum of Art

N W FROM MAYCO!

changes color in the same way! You'll get even, smooth application without thin or heavy spots. Enhances the beauty of underglaze or Dealemhlps Available. one-s t roke colors. Tough, c raze- res i s tan t . #105 Dual Tone Crys ta l . . . See Your Nearest Disfrlbulor, or Wrife. Clear Special Glaze has helped Amer ica ' s ou t s tand ing ceramis t s win *Patent Pend~n9 award a f t e r award. I t will improve your work too. Available in p in ts and unbreakable plastic gallons. Ask fo r it a t your neares t studio!

\ i l l ( ' l ' i ( 'a"- Vin(' , , l C()loi'~

6 Ceramics M o n t h l y

MINX INTRODUCES "THE TREE IN ORBIT," FOR MODERN DAY L I V I N G . . . AND THE FUTURE; A COLORFUL, LASTING CHRISTMAS TREE FOR HOMES, STUDIOS, SCHOOLS, AND STORES.

MINXIE MOLD M-113 copyrighted LIST PRICE, wlth base, S25.00 Tree height, with base, 18". Tree mold is two pieces. Base mold is also two pieces. Mold weight, tree and base, S0 Ibs. dry.

The Tree in Orbit is a ceramic decorator's dream to make and a delight to behold. With an ordinary light bulb set into the base, the Tree in Orbit becomes a glittering array of color shining through each Minxie G[o Lite imbedded in each niche in the tree. Minx's Tree in Orbit is decorative and striking as a Christ- mas tree, colorful and joyous at all festive occasions.

MINX ACCESSORIES. to complete the Tree in Orbit and all other Christmas trees, are: Minxie GIo Lites [available in IS dazzling colors]; Minxie GIo Crys- tal Halo Star [available in II colors); Minxie GIo Snow sprinkled over tree; music box ;n base, socket and cord, and flat back crystal aurora borealis rhine- stones on Minxie GIo Star. A revolvinq turntable [with IS0 lb. load capacityl which revolves the tree at two revolu- tions per m;nute is also available from Minx.

FREE with each mold order: I gross of M;nx;e GIo Liras, I Minxie GIo Star, I/4 lb. M;nx;e GIo Snow.

INTRODUCTORY SPECIALS: TO HOBBYISTS and TEACHERS, decor- afinq instructions for Tree in Orbit FREE. Send your name and address and name and address of your studio to Minx.

a l l ~ I k

TO DEALERS and WHOLESALERS ONLY, for $i.00, postpaid, 2 Minxie GIo Stars, IS (I each color) Minxie GIo Liras and sample of Minxie Glo Snow. Limit one.

DECORATE all your CERAMIC CHRISTMAS TREES with MINXIE GLO LITES, MINXlE GLO STARS and MINXlE GLO SNOW. Ask your local supplier for them.

"A" LIGHTER INSERTS ~r DESK PENS ~Ir ANIMAL EYES

CLOCK WORKS ~r MUSIC BOX MOVEMENTS Ik JEWELS FOR DECORATING lit SPONGES mALL TYPES ~k HANOVIA PRODUCTS ~lr MINXlE MOLDS

MINXlE GLO LITES ~lr MINXIE GLO STARS ")c MINXlE GLO SNOW ~r MINX KITS:

Ornaments for Ceramics Rhinestone Costume Jewelry

BUY MINX m Ceramic accessories and supplies 312 Riverdale Drive, Glendale 4, Calif., Citrus 3-8245

Address Mail To: MINX, Dept. C-9, P. O. Box 989

Glendale S, California

WHOLESALE m MAIL ORDER ONLY. NO RETAIL! Contact your supplier for Minx Molds, Accessories and Supplies. If not available, write direct for name of dealer nearest you.

September 1962

in every THOMPSON ENAMEL

Here 's where Thompson experience really

shows up . . . in your f inished work. Our

careful formulat ion and preparat ion of the

enamels you s t a r t with make a noticeable

difference in the quali ty of the piece you

end up with . . . whe ther you ' re a beginner or a seasoned craf tsman.

This experience in making the best possible

enamels is the main reason for Thompson's

reputat ion as the world's largest supplier of

a r t enamel colors . . . a title we've enjoyed for most of our 70 plus years.

The new Thompson catalog puts the widest

selection of these top quali ty enamel colors

available anywhere r ight at your f inger t ips

• . . plus every th ing you need in the way of materials, tools and supplies.

Send the coupon to-

day for your free

personal copy.

I i THOMAS C. THOMPSON CO. - - Dept CM

I 1539 Deerfle d Road. Highland Park. Ill. I I I i Please rush my FREE catalog of complete enameling and craft I

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OPAQUE GLASS ENAMELS . con- centrated liquid enamels for surface dec- oration at bending temperatures. WHITE, JET, LEAF GREEN, BLUE GREEN, TUR- QUOISE, DEEP BLUE, SUN YELLOW, LIME, PINK, ROSE and BROWN . . . 45c. FLAME RED . . . 60c. INTRODUCTORY O F F E R -

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For Exhibit Information Write: Mrs. B. S. Bucher Show Chairman

Box 11011 Coytown Station

Orlando, Florida

8 Ceramics Monthly

SUGGESTIONS f r o m o u r readers

DISPOSABLE MIXING BOWL

Mixing and pouring plaster is always a messy job in a ceramic studio. I eliminate the chore of having to clean and scrape a mixing bowl by using empty half*gallon milk cartons. I remove the stable at the top of the carton very carefully and thus make use of the extra height so obtained. These cartons are handy for mixing and pouring the plaster, and they can be discarded after use. A carton can be used several times if the film of plaster is squeezed and removed from the inside of the carton. The milk cartons also are convenient in measuring the initial amount of water needed.

--Mrs. Henry Sucher, South Bend, In,d.

TEXTURING SPONGE FROM FILTER

I have been using an unusual sponge for texturing liquid gold over glaze. Everyone seems to like this new effect and I have been using it for some time now. It consists simply of a small piece cut from a plastic-type air conditioning filter. I t is very inexpensive and the small pieces can be thrown away after they are used. The texture is very good for vases, ashtrays, box tops and edges. --Mary Wakeman, Hammond, Ind.

WHEEL FROM FOOD MIXER

By placing an eight-inch pie-pan-shaped plaster bat into the revolving bowl holder or stand of my kitchen food mixer, I have an excellent "wheel" for hand modeling, finishing and decorating. --Rebecca Kirk, Petoskey, Mich.

DRYING DEVICE

I t sometimes is d l f f icu l t to handle and dry the glaze on the bottom of a tall narrow piece such as a bottle or vase with-

out marring or otherwise damaging it. We have found that the best solution is to insert a narrow wooden stick of sufficient length in the neck of such a piece and place the other end of the stick in an empty soft drink bottle in a carton. This serves to balance the weight and to permit all-around drying with- out touching the outer sur- face of the pot.

--Helen L. Mount, New London, N.C.

VINEGAR FOR THE HANDS

I have heard many hobbyists complain that working with clay causes their skin to dry out so badly. Here is a very simple remedy for this: After finishing work and washing your hands, apply a goodly amount of cider vinegar. Let this dry, then add a second coat. The drying out of the skin is a result of working in materials that contain alkalies and the citric acid counteracts this. --Leota Robison, Con.neaut, Ohio

DOLLARS FOR YOUR IDEAS

Ceramics Monthly pays up to $5 [or each item used in this column. Send your suggestions to CM, 4175 North High St., Columbus 14, Ohio. Sorry, but we can't ackn.owledge or return unused items.

FREE! DUNCAN'S NEW COLOR CHART

mmlm

Just send us a stamped, self-addressed envelope for your FREE copy of our 8V2 x 11", 4 page, printed COLOR chart showing 220 glorious colors!

DUNCAN'S C E R A M I C P R O D U C T S , INC .

5673 E. Shields Ave., Fresno 27, Ca l i forn ia

September 1962 9

T H R O W I N G O N THE

P O T T E R ' S

WHEEL BY THOMAS SELLERS

HANDBOOKS

COPPER ENAMELING Proclaimed the best in basic instruction, this handbook in- cludes fundamentals as well as illustrated how-to-do-its on jewelry. 21 projects by Jean O'Hara and Jo Rebert. 64 pages. $2.00

UNDERGLAZE DECORATION Marc Bellaire creates a start- ling variety of new designs before your eyes - - teaching the ultTmate in quality under- glaze decoration. 37 projects ;n all; 286 lively illustrations. 64 pages. $3.00

THROWING ON THE POTTER'S WHEEL This complete manual on the use of the potter's wheel in- cludes basic steps, from wedging clay to the making of specific shapes. Clearly described and illustrated. By Thomas Sellers. 80 pages. $4.00

Used by teachers everywhere. Ideal for hobby groups, schools, art and craft cen- ters. Three-color covers; profusely illus- trated step-by-step photo technique.

DEALERS INQUIRIES INVITED

I CERAMICS MONTHLY Book Department I 4175 N. High St. Columbus 14, Ohio

Please send me the following:

copies of UNDERGLAZE DECORATION @ $3

_ _ _ _ c o p i e s of THROWING OH THE POTTER'S WHEEL @ $4.00

I (CM pays postage) I Name I

Address

I City_ Zn. State - - I

I I enclose l-~ Check F] Money order I (Ohio residents add 3% sales tax.)

m m mmmm m m m m mare !

10 Ceramics Monthly

Texas

STONEWARE CLAY

TEXAS STONEWARE CLAY is a very s t rong and a ve ry plastic clay. I t is ground 98% through a 200-mesh screen and air-floated for packing in 50 lb. bags.

TEXAS STONEWARE CLAY blended with 30 to 40% grog is an excellent Ceramic Sculptor 's Clay. Blended with 5% silica, it is a wonderful clay for wheel work.

We can furnish you the dry f lour clay, the grog, and the silica. We can also furnish you the clay blended and pugged, moist and ready for use.

Price List on all Ceramic Clays upon request.

V. R. Hood Jr.

P.O. Box 1213 San Antonio, Tex.

HOOD WAREHOUSE CO.

For Better More Consistent

Results

ORTON Standard Pyrometric

CONES Orton cones are your guide to more uniformly fired ware. Here is a leaf f rom indust ry ' s book tha t you can use. For complete details on this economical control method see your dealer or wri te direct.

Request you7 jree copy u] "'kruperticS and Uses oJ Pyrmnetnc (.une~"

The Edward Orlon, Jr. Ceramic Foundation 1445 Summit Street Columbus 1, Ohio

Arl$12Jcrs t o

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

1 have been uaing a transparent glaze that is very good over the clay I use, but is quite unsatis[actor), over u,nderglaze

decoration. In this latter situation there are many tbny bubbles in the glaze that cloud the decoration. What causes these bubbles and is there anything I can do to avoid getting them?--Mrs . L.B.. ]amaica, N.Y.

Since the glaze reacts correctly over the undecorated areas, the trouble is in the underglaze or the firing. Underglaze gives off gases in the kiln and evidently these are not escaping through the glaze. There are two solutions that might work: (1) Bisque fire your pieces after the underglaze is applied, then glaze and refire. (2) Try a slower firing period to give the bubbles a chance to escape through the glaze.

In a pottery ~hou, I attended recently there was a stoneware vase with a very beautiful dark glaze. The catalog referred to

the glaze as a Michigan-Albany Slip Glaze. Can you tell me what this is and how I could make i t?--J .A.T. , Louisville, Ky.

The slip clays or glazes are natural clays containing im- purities which cause them to behave like glazes when fired to certain temperatures. Albany slip clay matures between cones 8 and 10; Michigan slip clay matures between cones 7 and 9. A glaze matur ing within the range of cones 6 to 10 can be made from 50% each of the two slip clays combined with about 60% of water. The addit ion of 6% of manganese dioxide improves and deepens the color.

0 1 [ire glaze and bisque pieces together in the same kiln since I don't like to wait until I have enough of either to have

a firing. The only trouble I have is that occasionally there is a slick, almost glaze-like area on a bisque pot that makes it hard to glaze. Does this come from the glaze ware?--Mrs. K. B., Iowa City, Iowa.

This is glaze volatilization which is at tacking your bisque ware and forming vitreous areas. I t would be best for you to separate your bisque and glaze pieces in the kiln to prevent this. Put glaze ware on one shelf and bisque on another.

0 I have had ~ome spectacular [allures in firing beads. I would appreciate it if you could tell me what kind of wire

should be used [or glaze-firing beads, and just exactly how it should be used. - - L . P., Salt Lake City, Utah.

Get some small lengths of 20-gauge Nichrome wire from your ceramic supplier or an electrical supply house. This is sturdy enough for most beads. Bend down each end of the wire for support , then string the glazed beads evenly on the wire. Place each end of the wire over pieces of porous insulating brick or shelf supports in the kiln. Be certain that the beads do not touch one another or the supports at the end of the wire.

All subscriber inquiries are given individual attention at CM; and, out of the man), received, those of general interest are selected for ~nswer in this column. Direct your inquiries to the Questions Editor. Please er~close a stamped, self-addressed envelope.

C E R A M I C H R O M E is designed for all clay bodies . . . Outstanding results on or tware , porcelain, or stoneware! Fires from cone 06 to 6! This feature, plus many others, is important . I t offers the hobbyist, teacher, or student a new freedom in the ceramic arts. Choose from over 250 colors and tex- tures in exclusive "color -balanced" palettes. Send today for valuable FREE information about C E R A M I C H R O M E "READY- TO - USE" Ceramic Colors. W r i t e Dept. CM-5.

"FINEST PREPARED C E R A M I C COLORS" C E R A M I C H R O M E , INC., 15215 S. B R O A D W A Y

GARDENA, C A L I F O R N I A

S e p t e m b e r 1962 1l

THE T E C H N I Q U E OF E N A M E L I N G by KATHE BERL

WITH THIS "Back-To-Work" issue we begin a new season of instruction and work. I t is gratifying to know that there are so many friends who turn to these pages for inspiration and help in solving the various problems that the technique of enameling holds. And enameling holds so many[ When this column started some years ago, I wondered whether people would be able to work from written instructions. I t has turned out that many, many people have and I want to take this opportunity to thank those who have taken the time to write to me.

Since this column started, there are many new read- ers who have asked for basic instruction in enameling. For them, as well as for those who wish to review basic information about this craft, we will use this space for the next few months to re-examine the various techniques involved in enameling.

What is enameling? Enameling is the art of applying and fusing vitreous enamel permanently to metal bases by firing. This is my definition, as short and precise as I can formulate it. I t does not, however, describe all of the precious beauty and infinite variety of color that can be had only from enamel. I t is true enough that enamel is only a thin layer of glass on metal, but that doesn't describe it any better than to say that a painting is just pigment on some suitable surface! There is some- thing unique about enamel. There is a luster, a myster- ious depth and a beauty that show up in even the most imperfect piece.

Enameling is an ancient technique. I t dates from the time when mankind started to observe happenings in nature and when man's curiosity led him to follow up these observations and finally create for himself. He noticed that sand, when heated long enough, would melt. He also noticed that when it cooled off it changed to a shiny substance that was clear and brittle. He observed that the hot liquid substance fused to some surfaces and not to others. All this was observed and developed crea- tively until man found that this clear substance could stand alone as the material we know as glass. I t could be tinted, it could be fused in thin layers to clay to forn~ glazed pottery, and it could be fused to metal. Thus, enameling was born.

Down through the centuries came this art of enamel- ing. Religious and secular objects were embellished with enamel. There were altar pictures, portraits, miniatures and utilitarian objects, all done in the most luscious enamel. Incredible varieties of enamel techniques emer- ged, and in our museums, churches and art collections we can see early enamel pieces done by such techniques as champleve, grisaille, Limoges, cloisonne, basse-taille and plique-a-jour.

We look at these pieces in awe and ask ourselves whether we can achieve the same results. Personally, I don't think we can, since we are children of our own time. As times have changed, people have lost certain

"Figures in Space," three-dimensional enamel group by Kathe Berl, shows the wide range of the medium. This mobile-like sculpture is 19-inches high and gay in color.

qualities and gained others; the needs of the people and the modes of expression have changed. We can marvel at and learn the traditional techniques but we must apply what we learn according to our own current state of development. To do justice to the techniques as they were used earlier, we would need to sit in peaceful freedom, hour upon hour, day upon day, just working on one piece. And who can do this in a society that is mechanized, commercialized and shortcut-minded?

Today's designer-craftsman, who designs and person- ally executes his or her individual pieces, is almost unique in the history of the arts and crafts. We all know about the old "schools" of painting in which teams of artists worked on one commission. The same was true about the sculptures executed for the famous cathedrals. Enameling, too, was done by teams that were either family, school or trade groups.

To illustrate how they worked, let us imagine that we are forming a team to produce cloisonne. One person would just design, another would form the metal bases, another make and apply the wire cloisons, another would solder, another would fill the cloisons, another still would fire, and perhaps one person would do nothing but grind the pieces smooth.

This should give you a picture of the way things happened in the enameling field in the past. In the next few issues, I will present some of the ancient techniques mentioned earlier and try to help you to conquer them, whether you are on a "team" or working all alone!

. . . . . . .

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12 Ceramics Monthly

ITINERARY Sen.d your show announcements earl),. "Where to Show": three months ahead

o[ entry date; "Where to Go": at least szx weeks be[ore opening.

WHERE TO SHOW ~national competition

FLORIDA, JACKSONVILLE November 25--December 12

Twelfth Annual State Crafts Show, sponsored by the Florida Craftsmen, will be held at the Jacksonville Art Museum. The event is open to Florida residents who are members of Florida Craftsmen. All creative crafts are eligible. Jury; Cash prizes; Entry fee. Deadlines: Entry forms by October 15; Work by October 26. For additional information and en- try blanks, write: Charles M. Brown, Mandarin, Florida.

ILLINOIS, R O C K F O R D September 16

Fourteenth Annual Greenwich Village Fair, sponsored by the Rockford Art Association, is open to artists and crafts- men in northern Illinois and southern Wisconsin. Entry fee is membership in the Art Association. At the Burpee Gal- lery of Art.

KANSAS, LAWRENCE November 4--December 1

1962 Kansas Design Craftsman Show, sponsored by the Depar tment of De- szgn, University of Kansas, will be held at the Student Union Lounge, Union Building, University of Kansas, Law- rence, Kansas. The event is open to any- one who has resided in Kansas for a minimum of one year and residents of Kansas City, Missouri. Media include ceramics and sculpture. Work received October 21 through 24. Entry fee, $3.00, must be received by October 15 with notice of entry. For information, write: Marjorie Whitney, Chairman, Depart- ment of Design, University of Kansas, Lawrence.

MINNESOTA, ST. PAUL November 15--December 23

*Fiber, Clay and Metal Exhibition is an open competition for U.S. craftsmen. Entry fee; Jury; Prizes. Deadline for entries is October 13. For information, write: St. Paul Gallery and School of Art, 476 Summit Ave., St. Paul 2.

NEW YORK, SYRACUSE November 4--December 30

*22nd Ceramic National, sponsored by the Everson Museum of Art, will open at Syracuse and then tour American muse- ums for two years. Entries will be screen- ed at regional centers. Jury: David R. Campbell, Peter Ostuni and Robert Sperry. A prospectus may be obtained by writing: 22nd Ceramic National, Everson Museum of Art, 407 James St., Syracuse 3.

QUEBEC, M O N T R E A L March, 1963

"Canadian Ceramics of 1963" is a na- tional exhibition open to Canadian ce- ramists. Regional jurying will be set up and final jurying will be done in Mont- real in January. Prizes. The exhibit will be shown in Toronto in May, 1963. In- formation and entry forms may be had

by writing: Mrs. Helen Copeland, 574 St. Clement Ave., Toronto 12, Ontario.

SPECIAL FOR HOBBYISTS

CALIFORNIA, SAN FRANCISCO September 15--16

Western Ceramic Hobby and Gift Show, at the Jack Tar Hotel, is sponsored by the Ceramic Associates of Central Cali- fornia.

FLORIDA. ORLANDO October 25--28

*Fourth Annual Central Florida Ce- ramic Show, sponsored by the Ceramic Society of Orlando, is an open competi- tion. Hobby and Professional divisions; Entry deadline is October 25. For com- plete information, write: Show Chair- man, Box 11011, Coytown Station, Or- lando.

IOWA, D A V E N P O R T September 29--30

"Ceramic Panorama," sponsored by Mar- gray's Ceramic Studio, features exhibits and demonstrations of ceramics, glass, copper enameling and other kiln-fired craft. No judging. For information, write: Margaret Gehbauer, 2311 Arling- ton Ave., Davenport.

IOWA, MASON CITY October 13--14

Seventh Annual North Iowa Ceramic Show, to be held at the Handford Hotel. For information, write: Mrs. Homer Hurd, Greene, Iowa.

IOWA, S I O U X CITY September 29--30

Tri-State Ceramic Show, at the Muni- cipal Auditorium. For show information, write: Mrs. Mary Kruck. 413 McCook Lake, Jefferson, South Dakota.

MASSACHUSETTS, BOSTON September 21--23

*Fifth Annual New England Ceramic Show, at Horticultural Hall, features an amateur exhibit contest. Sponsored by the New England Chapter of Ceramic League, Inc. For information, write: Paul Anderson, 65 Middle St., Woburn, Mass.

NEW JERSEY, SCOTCH PLAINS September 12--15

First Annual Scotch Plains Ceramic Show, sponsored by Tranquili ty Studios for the benefit of the Plainfield League for the Handicapped, will be held at All Saints Episcopal Church. Exhibits, demonstrations, and an amateur contest. For information, write: Mrs. K. Lom- neth Chisholm, Box 186, Fanwood, N. J.

NEW YORK, SCHENECTADY September 28--30

Sixth Annual Competitive Exhibit of the New York State Ceramic Dealers Asso- ciation (Eastern Chapter) will be held at the Van Curler Hotel. This year's show theme is "Beauty Throughout the Year with Ceramics." In addition to the competition, there will be demonstrations by leading artists.

OHIO, AKRON October 12--14

Tenth Annual Akron Mud Hen Ceramic Hobby Show, to be held at the Akron

Continued on Page 36

NEW LOW PRICES ON MODELTEX MOIST CLAY

Let others raise their prices - - our main concern is to save you money on top quality ceramic materials.

Modeltex is a prime example. It is our moist white and r e d clay, packed in 2S lb. poly bags (2 per carton). Firing temperature: cone 06-04 for glazing.

Its quality is such that Modeltex allows ,you to make the largest piece of scuipture or the most delicate flowers. Modeltex can be used for throwing on the wheel. Modelte.," can be used in mold making. Yes, Modeltex allows you to do every- thing you have ever wanted to dc with moist clay.

PRICES ARE SURPRISINGLY LOW:

200 Ib . . . . . . . . . . . . . . . . . . 07 lb.

300 Ib . . . . . . . . . . . . . . . . . . 06 "

1000 Ib . . . . . . . . . . . . . . . . . . Osv2 ,,

2000 Ib . . . . . . . . . . . . . . . . . . OS "

F.O.B. Mamoroneck, New York

Ivfodeltex is available in both white and red. (Please spectify when or- dering or we will ship only white). You may order assorted colors fo: maximum price advantage. For ex. ample, order 100 lb. white and 20C lb. red and you will receive 300 lb.

WRITE US FOR OUR LOW,

LOW PRICES ON ELECTRIC KILNS,

TOP OR FRONT LOADING

mont St. lass.

.%'pt~mb~,r 1962 ]3

"i

I

/

POTS AND PEOPLE--[irst o[ a serie~

BEGINNING WITH CLAY WHY DO WE work with clay? In the words of Oregon sculptor Betty Feves, the answer is simple and honest: " I do these things because I like to." Let me add that I suspect we all do it for a feeling of achievement and fulfill- ment. We can't offer any better ex- planation than this, nor is it necessary.

As a beginner in ceramics, one's entire attention is taken up with the mastery of techniques and gathering of factual and technical information. After all, pottery is primarily a craft and for an individual to be able ultimately to say what he wants, he must become a craftsman. As he learns the techniques and becomes

familiar with his material, it is quite natural for him to imitate the classic examples of ceramic art. This process is valuable since it requires discipline and familiarizes the potter with the various aspects of his craft. After he has acquired a mastery" of technique, he can devote his attention more fully to the creative aspects of pottery or sculpture. This state of develop- ment usually is accompanied by a broadening awareness within the artist which results in greater freedom.

Learning something about the expe- riences and attitudes of others better enables us to express ourselves through our work. Information, knowledge

CERAMICS MONTHLY is pleased to present a new series of articles about pottery and some of the people who make it. Author Hal Riegger is a well-known potter, sculptor and teacher who is established in his own school at Mill Valley, California. His work is represented in tile per- manent collections of the Metropolitan Muse- urn, New York, and the Everson Museum, Syracuse. Among the many awards he has received are two "firsts" in Ceramic National exhibitions and a Good Design award from the Museum of Modern Art. This first article is con- cerned with the potter's basic material, clay.

by HAL RIEOOER

and experience are of little value if they are not used, and one of the best ways to use them is to share them with others. Sooner or later we all learn that clay batches and glaze recipes are of little value in them- selves. Their true value lies in what we do with them. We discover that the thing that makes our pottery or sculpture truly good is what it con- tains of ourselves.

Clay is the basic material of the potter and all pottery is made fronl clay or clay minerals. The makers of the earliest pots used no other materials because, at that primitive stage of the craft, glazes had not yet been conceived of in the mind of man. In spite of the lack of glaze, the pottery pieces were adequate for man's early needs and their beauty brings forth an emotional response from us today. Therefore, we can well devote some careful attention to this basic material, clay.

Clay is one of the most abundant minerals on the face of the earth; it also is one of the most easily obtained and cheapest of materials. Many of us know little more about clay than that it comes packaged in plastic. Where did it come from originally?

14 Ceramics Monthly

Opposite page: Slab ash ,trays were made [rom a u hite cla) combined with dark sand [rom the seashore and cotered- with a dark-[iring na- tive Florida clay. Colored glass wa~ m~lted inside the trays.

Right: Interior wall of an electric kiln shows the porous insulating [ire- brick, a product o[ research and ex- perimentation in the [ield o[ ceramic engineering.

I • # " i . . . . .

And where did the supplier get it? And why is it either red or white? Why must some clav be used only for casting and some only for throw- ing on the wheel? If we know what clay is and something about its advan- tages and limitations, we can work much more freely with this basic material.

There are "pure" clays and "im- pure" clays. There are natural clays and compounded clay "bodies." There are clays for casting and for throw- ing; for use at low temperatures and at high. Different clays fire to almost any color we might desire; if not, we can change them so they do. There are fine-textured clays and coarse- textured ones, and we can change fine clay to coarse by adding "grog." When we reach the stage in our work when we want something other than what is available from our regular sources, we can turn to the country- side around us. I t will yield a surpris- ing number of materials that can be incorporated into clay for our use.

Just about anything can be tried in the kiln, but there are some essentials to successful experimentation of this nature. The first of these is an open, inquisitive mind. Second, sensible pre- cautions must be taken to prevent damage to the kiln, and well-washed old kiln shelves should be used beneath any unknown mixture that is being fired. And last, adequate records

Continued o,n Page 33

Detail o] solid [orm by the author shows .cracking that occurred dur¢ ing the drying o[ red clay [ro~ the driveway mixed with commer- cial bloated shale aggregate. Test piece is Calqornia [ireelay mixed with coarse local red clay [rom the back yard. Granules [rom the clay "'spit out" even through the glaze. Cone 4. Raku bowl was made [tom aggre- gate [rom the brick yard mixed with Cali[ornia [ireclay and fired to cone 012. Fine-textured clay bowl by the late Charles F. Binns shows a smooth sur[ace speckled only with a visual texture.

September 1962 15

~;

Clay model i ,g cla~-s at th( 3lo, lc lair . .\'cu' Jcr.~c).. 3Ius( , m .4~l School.

16 Ceramics Month ly

Ceramics

in the

Educational

Program

by ALICIA RAHM

THE BALANCE between freedom and discipline that is so

vital to the fullest development of the human potential

is one of the most difficult things to strike in the educa-

tion of children. Through the very- nature of the material

being used, this balance becomes basic to the endeavors

of children in clay-modeling classes.

In addition to being encouraged to develop their own

ideas in this richly-manipulative medium, children also

must be taught, and learn to become aware of, the de-

mands made by the clay and by the kiln. Hollowed too

much, a sculptured head may collapse before it dries.

Hollowed unevenly, it may get through the drying pro-

cess only to crack during the firing. A small child who

has ignored instructions as to the proper welding to-

gether of the parts of his first piece is not apt to send to

the kiln a second animal which might emerge minus tail

or ears ! Cleo Hartwig, instructor of clay modeling classes at

the Montclair (New Jersey) Museum Art School, brings

to her teaching the artist's devotion to individual expres-

sion as a fundamental principle of development. In fact,

parents are often surprised at their children's response to

this principle in action. This teacher finds that children usually have their

own ideas about what they wish to say with their clay

even before they start. She also finds, contrary to a some-

what common belief, that children have no natural in-

clination towards the abstract. It is, rather, the various

elements of their daily lives which absorb children and

which they strive to symbolize through their art activity.

They transpose their images of places, things, people and

pets into concrete form. Sometimes they do this from

memory, sometimes with the help of photographs.

Children must be encouraged by their teachers to

interpret, not to reproduce. They must be inspired to

move on to progressively more-complex coinpositions, and

to attempt more-difficult problems in construction. Mov-

ing each at his own pace and each in his own direction

hut discipling themselves always to tl:e characteristics in-

herent in the material with which they are working,

children will experience both the fundalnentals of aesthe-

tics and the fundamentals of functioning as human beings.

These are lessons not easily taught and not easily

learned. It is good to know that in clay there is a medium

which lends itself successfully to these vital elements in

the educational process.

September 1962 17

t

0 e

THE HIBACHI Fun for craftsman and gourmet by DON ~'~"OOD THE SUMMER FUN of outdoor charcoal cooking can be extended throughout the year by introducing to the family dining or coffee table a decorative, portable char- coal burner that can be made from clay.

The use of some sort of a charcoal stove for cooking is an ancient practice, but the use of the hibachi for charcoal cooking in America has been a relatively recent development. Acceptance of the hibachi, almost to the point of becoming a national pastime, is due in part to the response of imports from Japan and also because of the response of American manufacturers to this newly- found interest. In addition, we have found that the hi- bachi is not only fun to use, but also that it provides an item of interest as a functional object at a buffet spread.

Although cast-iron hibachis are available on the market, there is a tremendous potential of design possi- bilities by making our own. We might make it entirely from clay or combine such materials as wood, stainless steel and cork with glazed clay. The hibachi illustrated in this article was made by just such a combination.

The design for this little stove was determined by

Finished hibachi com- bines a metal grill, wood- en handles and cork [eet with the blue-green glaz- ed pottery [orm. Photo at le[t shows the grill turned upside down on the rim o[ the pot to raise the cooking sur[ace.

calculating the desired size of the grill, the distance of the grill from the charcoal below, and the use of a square aluminum cake pan to contain the burning charcoal in the bottom of the hibachi. By such an arrangement. the charcoal fire could be started in the pan outside of the house and, when sufficiently glowing for cooking pur- poses, brought into the house and placed in the bottom of the hibachi. The square shape of the stove made the fabrication of the grill from expanded metal stock more economical and practical.

Here is how the hibachi is made: After determining the size and proportion of the piece, a pattern is cut. The pattern must be sufficiently large to allow for shrinkage ef the clay. The pattern is traced on cardboard, then the cardboard is cut and taped together to form a truncated pyramid shape. Corrugated cardboard from a grocery box is suitable for this purpose.

After the basic shape of a truncated four-sided pyra- mid is fabricated, side rims are cut from cardboard and taped into place. The reinforcement from these added panels makes a strong box of cardboard which will not distort or slump under the load of wet plaster which will be applied to make a mold.

The cardboard model next is covered with aluminum foil, to protect it from the moisture of the wet plaster, and placed in a shallow cardboard box which will act as a fence to prevent the fluid plaster from running all over the table when it is applied to the model. At this time the foot sockets and handle "ears" can be modeled in clay and fixed into place on the aluminum-covered model.

Please Tutti the Fa~

18 Ceramics Monthly

1. Pattvrn i~ ~ut from c,~rru~at, d ~a~dboa~d t , .[,,m the shape from which a plaster mold will be made.

2. Four-sided pyramid .drop, i, r,'il@~rccd by add, d lml~- els that make a strong box u'hich will not easily distort.

3. Cardboard model i.~ covered with alumillum loll, thvn placed in a shallow box which will act as a fence.

4. Plaster is applied to the model to create the mold. Burlap is embedded in plaster for reinforcement.

5. Slabs o/ clay arc prc~(d i~l~ Ih~ d~y mold t , ~r(at, a casting. Tamping with block insures good ow, rlap.

6. Grill is made by folding a piece of expanded metal to [it over the top of the glazed and fired hibachi.

September 1962 19

7. Dowel rods are used to make the handles. The parts are cemented together and to the clay [or strength.

8. Cork balls are [astened to the loot sockets on the bot- tom o[ the pot by using ample amounts o[ cement.

A thin coating of plaster is applied to the model and worked into the corners of all areas so as to prevent air bubbles on the surface of the interior of the finished plaster mold. Successive layers of plaster are built up and reinforced with strips of burlap embedded in the wet plaster. This further strengthens the mold. When enough plaster has been applied, the mold is cleaned up with a scraper while the plaster is still soft. The shallow card- board fence provides a reasonably well-finished rim for the plaster mold and very little cleanup is necessary. The inside of the mold is cleaned by scraping away the im- pression of the tape and filling any air-bubble holes. Then the mold is allowed to dry.

When the mold is thoroughly dry, slabs of clay are pressed into it and firmly tamped down with a block of wood. This insures good welding together of the overlaps. The inside corners all should be rounded and filled in with extra clay to prevent cracking and distortion during the drying and firing of the piece. After removing the clay impression from the mold, the handle "ears" are shaped up and holes are drilled through them to hold the dowel rods which will be added later. The hollows for the cork feet also are scooped out. These hollows are made oversize to allow for the shrinkage of the clay so that the cork balls will fit properly after the piece is fired. When the casting is cleaned up, it is allowed to dry com- pletely. Then it is bisque fired, glazed and fired again.

When the glazed piece comes from the kiln, measure- ments are taken for the handles and grill. The grill is made by folding a piece of expanded metal to the desired dimensions to fit into the top of the hibachi. Stainless steel can be used here for a longer-lasting grill, but any number of alternatives may suggest themselves to the inventive designer.

The grill is designed to afford some adjustment in the height of the cooking area from the burning charcoal. The grill is also calculated so as to fit simply in or on the rim without any danger of sliding off. In one posi-

tion it fits tightly about one inch down into the rim; in the other position, turned upside down, it fits on the rim of the hibachi, raising the grill surface about two inches. The dowel handles prevent the grill from slipping off the sides. A short bend is made in the grill from side to side to give it strength across the space from one handle to the other.

A dowel-rod handle is chosen because of the ease ~f purchasing this material from any hardware store. 1-hese rods are usually made from light-colored hardwood such as maple or oak. For this particular hibachi, which was glazed a blue-green color, the author used a wood stain to get a walnut finish. The craftman equipped with a lathe could turn handles out of any kind of wood and in shapes of an interesting variety.

Half-inch dowel rods are used to pass through the "ear" holes into the parts of a one-inch dowel rod making up the handle. An epoxy type adhesive with aluminum filler is used to cement the handle parts together; enough cement is used to squeeze through the "ear" holes and out of the joints. The cement not only holds the wooden pieces together but it cements the wood to the clay pot so that the handles will not turn. The ends of the handles are cut on the bias to slant inward towards the corners of the pot for better design continuity.

The same cement is used in ample anaounts to fasten the cork balls into place in the foot sockets on the bottom of the pot. After the cement has dried somewhat, the ex- cess is scraped off and the pot is set aside for the cement to harden according to the instructions of the manufac- turer. Cork is used to raise the heated hibachi above the table surface and to afford a soft cushion to protect the finish of the furniture when the hibachi is used on a buffet or table top.

This same hibachi mold can be used very easily to make other projects. By making some slight alterations in the details of the cast piece, it could become a hand- some planter for use indoors or out.

20 Ceramics Monthly

NAPLES YELLOW FROM RAW GLAZES

bv ]{ICHARD BEtlRENS

~'N~'API.EN YELLOXV is among the n]ost bri l l iant colorants used by the pot ter to produce yellow glazes. While it usually is in t roduced into the raw ~laze as a commercia l colorant, it mav be produced in the glaze itself by the use of ant imony oxide. In glazes containing substantial amounts of lead. an t imony oxide forms the yellow lead an t imonate called Naples yel- low. Used in glazes that are low or lacking in lead, an t imony oxide serves as an effective opacif ier that is white in color.

Another requirelnent , in addi t ion to the presence of lead in a substan- tial amount , is that the glaze for- mula have little or no mater ia l that might serve as bleaching agent. These materials , which should be e l iminated or minimized in the formula, are magnesium, calcium, bar ium and bor- ic oxide. On the other hand, the presence of tin oxide and one of the alkali me ta l s - - sod ium, potassium or l i th ium---enhance the yellow color ob- tainable from ant imonv oxide.

Fol lowing is a glaze formula that has a high amoun t of lead, includes tin oxide and introduces l i thium in the insoluble form of l i thium car- bonate. The glaze fires at cone 010 and gives a strong yellow hue.

CONE 010 GLAZE

Lead Monosilicate 75.3 c'~ Lithium Carbonate 4.2 Kaolin 5.2 Flint 7.6 Antimony Oxide 2.3 Tin Oxide 5.4

lO0.OCA

Varia t ions in the color of this glaze were produced by addi t ions of other colorants. A batch of this glaze was divided into four equal portions and red iron oxide was added in the fol- lowing amounts : 0 .75%: 1 .50f / : 2.25% and 3 . 0 0 ~ . Fi red at cone 010, these four tests gave a series of warm brown hues that increased in dark- ness as the iron was increased.

A set of tests that used copper carbonate instead of iron, and in ad- ditions of the same amounts as the iron tests, p roduced a series of very pleasing yellow-greens.

Another set of tests, also fired at cone 010, included cobalt carbonate in amounts of 0 . 2 5 ~ , 0 . 5 0 ~ , 0.75~)~ and 1.00%. These results gave olive- greens, the darkest one containing the highest percentage of cobalt carbon- ate.

Nickel oxide added to the raw glaze in amounts of 0.33~/~, 0 . 6 7 ~ , 1.00% and 1.33¢)/~ produced colors ranging

from a muted yellow to a light brown. T i t an ium oxide was added to the

basic formula in amounts start ing with 1.5% and increasing in 1.5% increments to 6.0c{. Increasing mat t - hess and a general l ightening of the yellow color accompanied the in- crease in the amount of t i tanium oxide.

Another glaze, firing at cone 03, is similar to the one described abo~e for cone 010.

CONE 03 GLAZE Lead Monosilieate 66.1% Lithium Carbonate 3.7 Kaolin 4.6 Flint 17.7 Antimony Oxide 2.3 Tin Oxide 5.6

100.0%

The addi t ion of the various colorants to this glaze in the same percentages as for the cone 010 glaze resulted in uniform similarities with some shift in coloration. The results from the cone 03 firing were ra ther more bril- l iant than those obta ined in the lower firing.

Naples Yellow, produced in this way, and modif ied by other colorants, can produce a very pleasing series of warm hues when used in low-tem- perature, high-lead glazes.

Naples yellow is very e//ective when used on the inside o[ a bowl such as this porcelain one by tlu author. Mr. Behrens explains in this article how the brilliant color o[ Naples yellow can be produced in the glaze itsel[ through the use o[ antimony oxide.

BISQUE STAMPS FOR DECORATING

by RICHARD PEELER

As A BEGINNING PROBLEM for nay ceranfics classes, I have them make up several clay stamps which are later fired and then used for decorating pottery. Using these bisque stamps is a quick and easy way to get a neat and effective decoration into the surface of the clay itself.

In addition to creating a useful tool, this simple project provides good practice in manipulating the clay. One not only gets the "feel" of the material but also dis- covers how it reacts to the touch. This is most important for a first project[

The methods most commonly used for decorating clay are scratching lines into the side of a pot or carving a design with a wire loop tool. However, I think you will find that lines and decorations which are imprinted or embossed from bisque stamps are nluch inore unusual and effective. In addition, there is a great fascination in imprinting these designs in the moist clay and then later seeing them hardened into permanency in the fire.

To make the stamp, I start with a small roll of clay and flatten or blunt one end to make the stamping sur- face. I pinch the other end of the clay roll flat to form a shape somewhat similar to that of a skating key. Here is where I encourage the beginning student to practice stroking the clay to smooth the surface. This pinched section is designed to accommodate the fingers in holding the stamp when in use and, through a good-sized hole twisted through this handle, to string the stamp on a wire or cord so that it will not easily be lost.

When the clay form is slightly stiff, the blunt or squared-off end is carved or impressed with a modeling tool, knife, nail or whatever is at hand. When the stamp is dr),, it is bisque fired and ready for use in decorating.

It is an easy matter to carve or dig a decoration into the blunted end of a clay stamp, but there are a few precautions I would like to stress. I f the background of the design is carved away, the finished stamp will make an imprinted design. If the decoration is dug into the stamp end, it will give an embossed or raised effect. A simple rule to remember is that whatever is on the stamp end is reversed on the printed clay surface.

A neat little initial or monogram stamp for signing one's work can easily be made in this manner, and it is good practice, too. You would be surprised at how many people discover that their initials are backwards when printed on the bottoms of their pottery pieces! They must learn to think of the reversal principle when doing numbers, letters or any other decoration material that has a "right" direction.

Stamps are used on one of the early projects to which my students are assigned. This consists of cutting a number of clay slabs ~ " x 2" x 4" to be used as test tiles. Each tile is stamped in a different way and the resulting embossed test tiles are used later in the course for testing the effects of various glazes on the textured clay surfaces. Some glazes will reveal and emphasize the design details, while others will tend to obscure or fill in the decoration.

The main use for the stamps is for decorating hand- built or thrown pottery pieces. The stamping must be done after the clay has hardened sufficiently to hold its shape while being imprinted but is still soft enough to be printed easily. There are many ways to use stamped decorations, and each person will soon discover just how he can best use them to express himself in his work.

r~o g

S

I. A roll o[ clay i~ bluntrd at ore' end t , [orm th, ~tamp. The other end is [lattened, ~omewhat similar to a skate key ~hape. to provide a handle.

2. Depressions are made a'ilh a t, ni[, blad,' point to cre- ate a decoration in tlw business end of the ~tamp. Pencil point is used to make the center.

3. Selection of bisque stamps plus other " found" tools show the variety of decorations that can be made in plastic clay by this printing technique.

- : ~ , ~ : : ~ , .

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y

4. Holes in the handle ends of the bisque stamps make it possible to string them on a cord or piece of coat hang- er wire as a protection against loss.

Opposite page: Hand-buil t bottom section of the bottle (left) is unglazed. I t has white slip sponged into the stamped decoration. The wheel- thrown top section is finished with a white nmtt glaze. The pot is 15 inches tall. Stoneware Jar (right) , 24 inches high, has an .un- glazed tan body. The s tamped decoration is accented with white slip wiped into the depressions. The inside of the piece is glazed white. Both pieces are by the author.

,%~!,tcmb~'r 10~2 '2'~

GLAZE PRINTING TECHNIQUES demonstrated bv MARC BELLAIRE

OCICASIONALLY the decorator wants to work with the more brilliant colors that can't easily be had by using underglaze, and in such cases Marc Bellaire suggests turning to glaze for decorating. This technique is parti- cularly good for getting strong red and orange colors, as well as for the brilliant greens and blues.

Working with glaze necessitates the use of a piece of bisque ware for the shape. Before decorating can be started, the piece must be glazed with either a white opaque or a transparent matt glaze. If the bisqued piece is white, either glaze can be used. But if a colored body is used, the opaque white matt shotdd be used as a base for the colored decoration.

The glazing should be done complete--both inside and out--before decoration is started. A bottle-or any small-necked piece should be poured in advance. On a bowl or plate shape, such as the one being used for this project, it may be decided that a contrasting glaze color is wanted for its underside.

Glazing is done by soaking a silk sponge in water, then squeezing out the water. The fine or furry portion of the sponge is dipped into the glaze and this is patted onto the piece of bisque. Using this portion of the sponge for glazing insures a finer surface texture. Be careful not to wipe with the sponge, as this will remove some of the glaze. After the piece has been given one coating of glaze, wait until the sheen is gone before applying the second and third coatings. As soon as the last coating of glaze is

dry to the touch, work can be started on decorating. The subject selected for this decoration is straw-

flowers. Instead of starting with the usual brush tech- nique, Marc Bellaire uses a printing technique for mak- ing the flower petals. His printing tool is a rounded shape cut from slightly-stiff cardboard such as a facial tissue box. Two patterns are cut exactly alike in case one piece splits or wears out. The basic design elements are care- fully penciled in over the base glaze, using a soft lead pencil, before decoration is begun with the glaze.

Red and tangerine gloss glazes are selected to create the petals of the strawflowers by the printing technique, but any other color combination could be used. The lightest color--tangerine--is applied first and the design will be filled out with the darker color.

The tangerine glaze is thoroughly mixed, then about ~- inch of it is poured out into the bottle cap for use so that the application by this technique will be con- sistent. The rounded end of the cardboard is rocked back and forth in the glaze, then it is transferred to the glazed surface and rolled on to the plate. Rolling from the out- side of the petal toward the center gives a more petal- like application that is thicker at the ends and thinner at the core of the design. The thickness of the petals depends on the amount of glaze on the cardboard and the way the color is rolled onto the surface.

Another printing technique is introduced to create a secondary floral design. First, a pencil is used to mark

¢

1. Bisque plate is covered with three coatx o[ transparent matt glaze patted on [rom a fine silk sponge. The ,~laz~ is allowed to dry completely be[ore the decoration is started.

24 Ceramics Monthly

2. Cardboard piece is cut into a round- ed shape [or use in printing the colored glaze onto the base coating o[ glaze. 7lightly sti[[ cardboard is used [or cr~'- ating this cut-out pattern.

3. Tangerine glaze is applied to the plate by rocking the pattern in the ,~laze, then trans[erring the color to the sur/ace with a rolling motion o[ the rounded cardboard pattern.

five dots at random on the plate surface. Dark blue gloss

glaze is poured out into its jar lid and a new pencil

eraser is dipped into it. This glaze is transferred to a

position around a pencil mark and then the process is

repeated until five dots have been made. After all the

groups of five dots have been placed, and are dry, a

center dot of turquoise or yellow glaze is applied.

At this stage the design can be considered as finish-

ed. Such a design would be delightful for a dinnerware

pattern since it emphasizes a "floating" design quality.

If it is decided to continue the decoration, it is suggested

that a pencil plan be used first. Marc Bellaire carries

out his design with the addition of spear-type leaves made

with a liner brush and using one stroke black color. His

leaves are placed according to the design and wherever

there is space for them. The liner brush again is used with the one stroke

black to accent the strawflower design with "hat-pin"

strokes. These start in the center of the flower and emerge

between the petal segments. The "hat-pin" stroke is

simply a fine line with the brush pressed down to make

a print at the end of the stroke. When the glaze is

thoroughly dry, the plate is ready to fire.

The printing techniques used here are excellent for

designs other than flowers. Try the cardboard technique

for pine branche~, pine trees, a sunburst or stick figures.

The pencil-dot technique is wonderful for creating

bunches of grapes!

Straw[lou'er decoration o/ the [inished piece (below) is

made with brightly-colored gloss glazes over a white matt

~laze background. Printing techniques are used to make

the tangerine and red straw[lowers and the blue and

turquoise dot [lowers. Spear leaves are brushed in with

one ~trokc black color.

~ . ~ ÷ •

t Darker c o l o r ~cd i, rocl,~d .p,

.... m the cardboard [orm to [ill the

,/,aces between the tangerine petals.

l'hi~ technique allows the decorator to

,,,v more brilliant colors.

5. Dark blue glaze is dotted onto the

sur[ace [rom a new pencil eraser. A

turquoise center dot also is made in

this way. Thi~ technique provides a

seconda O, design element.

6. Liner brush is used to add black

leaves in the open spaces o[ the design

to create accenting "hat-pin" stroke~

over the tangerine and red glaze o[ the

straw[lower petals.

Sept~.~ber 1962 25

K i l n - f o r m e d

G l a s s . . .

C U T T I N G

G L A S S

by KAY KINNEY

Ix rtAS BEEN nearly three ),ears since methods of glass cutting were stressed in this series of articles on kiln- formed glass. From the many requests received for more specific information on this subject, it seems desirable to review this technique at this time and also to suggest some combinations of segments to form into a single unit of fused glass.

The term "cutting" is misleading, for it is impossibh, to actually cut glass. A cutter only scores a fine line, and it is really pressure or tapping the scored line on the other side of the glass which accomplishes the cleavage or cutting. The very phrase "cutting" often causes people to assume that they must exert all their strength in scor- ing. Too much pressure results in a fairly broad, fuzzy white line which usually produces a ragged edge.

The cutter consists of a metal or wooden shaft which has a tiny sharpened wheel at one end. The wheel rotates on a minute shaft, traveling in a controlled direction. The other end of the shaft is held in the hand, and the most versatile cutter is one equipped with a ball at the extreme end. The ball is used to tap the reversed side of thick glass. Pressing the thumb over a scored line on thin glass is sufficient to establish cleavage.

There is no "right" way to hold the cutter; this depends entirely on what is the most natural position. Some professionals hold the cutter as they would a pen or pencil, others grasp it with a clenched-fist hold. Since the objective is to describe a continuous but effortless score line, aptitute with other tools (such as brushes) usually indicates a similar position for the glass cutter. Angle of the cutter, however, is important. The shaft should be held in a reasonably vertical position; other- wise the cutting wheel will be forced to score from the side rather than the sharp edge. This not only dulls the wheel but results in a rough irregular cut.

There are only three basic cuts possible without re- sorting to special tools or tricks. These are the straight

\ \ / / I I Glass cutter should be held in a vertical position to make a clean, sharp cut of the glass. Scoring from an angle results in a rough, irregular cut; this also dulls the cut- ting wheel.

26 Ceramics Monthly

line, the single arc and the double arc or "S" curve.

Limited as this sounds, these three directional lines

(or variations) are the only ones employed by most stain-

ed glass studio craftsmen who are commissioned to create

the windows for churches and public buildings.

THE STRAIGHT CUT. If the sheet of glass from which geo-

metrical shapes are to be severed has a straight true edge,

it may be placed over a piece of typewriter or legal-sized

paper as a guide, and the measurenlents determined by

• the area of glass extending beyond the side of the paper.

Straight cuts can be made from edge to edge of the sheet

of glass. Squares, rectangles and strips are produced by

maintaining identical top and bot tom measurements, and

triangles or asymmetric sections simply by placing the

glass at varying angles to the paper.

"rile ARC. Curves require a margin of at least one-half

inch beyond the pattern at its narrowest point; while it

is possible to score an arc accurately, if the glass to be

severed becomes too slender, it will usually break off to-

wards the edge at the place where it is weaker than the

section being cut, leaving a small portion which must be

removed with pliers.

THE DOUBLE ARC. This curve is inerely a continuous ex-

tension of the single arc in a reversed direction. It is im-

portant to inaintain the cutter in a vertical position, for

there is a natural tendency to "'bank the turns" and score

with the side of the cutter. Outer curves are apt to be

undercut ; inner curves to have a shelving bottom edge

which should be removed by honing with a carborundum

stone. The glass should be cut on a padded s u r f a c e - - ~ - or

¼-inch bulletin board cork is excellent for this purpose.

Tiny crumbles and slivers of glass should be removed from

the work table and cork after each sizable section or group

of small shapes is cut.

The fusing of nmltiple glass sections should be plan-

ned in advance, especially when the fired project nmst

be an exact size. Combining tile shapes, which I call

"fragmentation," often can produce designs which would

be impossible to cut from a single piece of glass. Simple

leaves, for instance, are easily cut. By overlapping two

leaves, or a cluster of leaves, detailed patterns are success-

fully created, and the overlapping sections are three-di-

mensional, providing a nmch more interesting surface

for the unit.

Three sections can be cut to pattern, and fired on a

mold. One of the illustrations shows how free-form seg-

ments, placed carefully on a pine tree mold, beconie a

sailboat. All sections should be cut from the same sheet of

glass for compatibility in fusing. After cutting, the various

shapes are glued together, since loose unattached pieces

of glass are prone to shift during the firing. Gluing can

be done over the pattern and the glass transferred to the

mold when the glue is dry, or the glass pieces may be

glued together directly on the mold on which mold-coat

or other glass separator has been previously applied.

When working with fragments of glass, it is advisable to

use a liquid separator rather than a d~" one in order to

eliminate dislodgement of the latter. The sections placed

directly on the mold can be fastened to the mold-coat

with rubber cement, but additional overlapping pieces

should be glued together.

The unit can be colored with any of the decorating

materials, such as liquid glass glaze, overglaze or metallic

overglaze. Decorating should not be at tempted until the

glue is dry. Needless to say, no colorant should spill over

onto the separator.

In the series of projects on kiln-formed glass that will

be presented during the coming months, other basic tech-

niques will be reviewed and stressed• This should provide

a guide for beginners, and present new and review ma-

terial for those readers who have been following this

series on glass.

Detailed patterns are created by overlapping two or more

sections o[ glass, as in this diagram o[ two leaves. A n

interesting sur[ace is achieved by this two-dimensionai

treatment.

/I J ;I I I

\ . . . . J

Tree mold is used to create a sailboat [rom glass. Three

[ree-[orm shapes are cut /rom glass (le[t) and these

segments are glued together and trans/erred to the mold

(right) /or [iring in the kiln.

,~,'c/~t,mbcr 1962 :27

Strictly Stoneware

ENGOBES FOR COLOR IN SALT GLAZE

by F. CARLTON BALL

A GREATER RANGE of color can be ob- tained from salt-glazed ware if clay slips, or engobes, are used. This is because fractional amounts of color- ing oxides can be added and kept under the potter's control. I have found it better to use the clay body itself as the basic engobe material to which the oxides are added for color, rather than a complicated mixture of other glaze-like materials. This is only practical, of course, when a light- colored body is being used.

The main advantage in using the body itself as the engobe, to which color is added, is in the harmony be- tween body and engobe. The texture of the pot and that of the areas covered with engobe are essentially alike; only the color is changed. All too often an engobe made from glaze- like materials has the appearance of a thin layer of enamel or opaque glaze after salting--smooth and glossy, but rather characterless.

In order to discover what colors and textures could be obtained in salt glazing through the use of engobes, a series of small tests were made us- ing clay body #6, which is light- colored.

CLAY BODY 6 Jordan Clay 15% Edgar Plastic Kaolin 27 Flint 20 Feldspar 23 XX Sagger Clay 15 Grog (optional) 10

110% The test pots were decorated in the

greenware stage with a liquid wax emulsion, over which colored engobes were applied. This decorative treat- ment allowed areas of the clay body to show through the engobe appli- cation.

The engobe used was made from the # 6 clay body with 5% of Maz- erine Blue Underglaze added. This color was chosen for the amount of

contrast it would provide between the color of the body and that of the engobe.

Additions were made to the engobe fcr changes in texture and color and all tests were fired to cone 8 in a completely oxidizing atmosphere. The results were as follows:

1. Alumnia hydroxide was added to the engobe in amounts of 5, 10, 15, 20 and 25%. The added alumina tended to decrease the amount of glaze deposited; the glaze surface also became drier as the alumina content increased. A test pot, covered entirely with alumina hydroxide and fired, came from the kiln with no glaze on it. Another test dipped into ordinary aluminum paint also resisted the salt glaze and emerged dry. This paint could be used as a decorating materi- al to create patterns of unglazed areas on a salt-glazed piece.

2. The effect of silica on salt-glazed test pots was ascertained by adding f l int to the engobe in amounts the same as for the first test. The results showed that as the silica content was increased, the glaze became thicker and glossier and the blue color from the underglaze also deepened.

3. The addition of 10% barium carbonate to the engobe produced a semi-matt glaze surface, yet preserved the typical orange-peel texture. A 20% addition of barium resulted in an excellent mat t without losing any glaze characteristics.

4. The addition of magnesium car- bonate in amounts of 10 and 20% resulted in a drier glaze and a paler color.

5. Barnard clay in a 30% addition was much like adding more flint. Some of the blue color bleached out, leaving a pale blue tint with a choco- late brown color dominating. The edges of the design blurred but the orange-peel texture prevailed. A simi- lar effect was achieved by adding

30% of Dalton clay. 6. The addition of 50% Albany

Slip clay turned the blue to a blue- violet color and gave a heavy glaze with good texture.

7. Ruffle in an addition of 5% to the engobe gave a good copper-green glaze color with a crystaline appear- ance on the edges. The typical texture disappeared but the color was excel- lent.

8. A pleasant black glaze holding the orange-peel texture resulted from the addition of 1% chromium oxide to the engobe.

9. As might be expected, the addi- tion of 30% dark brown grog gave dark brown specks that tended to gather the engobe color around them.

These were just a few of the tests using one engobe. Many tests were made using the same basic engobe without the blue underglaze addition. and some of the results were very interesting. For example, 10% red iron oxide added to the engobe gave an excellent aventurine glaze with fine texture, and 20% ruffle in the colorless engobe gave an iridescent silvery-yellow color that was not un- pleasant.

Of course, tests could go on and on, since each firing seems to give different results. The potter interested in experimenting with salt glaze should try the engobe tests over and over to find which ones give stable results. There should be some beauti- ful results in store!

F. Carlton Bali's many articles on throwing, dee- orating and glazing have earned him a wide and enthusiast ic audience among CM readers. In the current series of "Strictly Stoneware" ar- ticles, Mr. Ball is con- cerned with the tech- niques of salt glaze.

28 Ceramics Monthly

SHOW TIME Toledo Area Artists Exhibition

THE TOLEDO Federation of Art Societies

sponsored the 44th annual Area Artists Exhibition at the Toledo Museum of Art during the month of May. Over 290 art- ists and craftsmen submitted work and of this number 140 had one or more entries accepted. Jurors included Roy Gin- strom, craftsman; Stuart Carson Edie,

painter; and Edward Henning, Assistant Director of the Cleveland Museum of Art.

The artists themselves select the jury for this annual show. Each juror selects

his own show for the exhibition inde- pendently of the others. To make this individuality of selection evident, gallery labels accompanying the works selected bear the initials of the juror or jurors selecting an)' given item. According to

Rudolph Riefstahl, of the Museum staff, this gives each artist an indirect critique of his work by the juror and also allows

the public to assess the taste of the in- dividual members of the jury.

The major craft award in this year's show was won by George Palovich, of Kent, Ohio, for a group of five ceramic pieces. Other recipients of first prize awards in the crafts division included Charles Lakofsky, Harold Hasselschwert and Norman Schuhnan.

(Above) Group o[ prize-winning pieces in the Toledo Area Artists Exhibition ([ront

to rear): Handled Crock by George Palo- rich; Bottle by Charles Lako[sky; Large Pot by Harvey Littleton; and Stoneware Pot by Norman Schulman.

(Right) Silver and Enamel Pendant by Harold Hasselschwert, Bowling Green, Ohio, won an award in the cra[ts division.

• S'cpt~mb, r 1962 29

SHOW TIME

THE BAY AREA Arts and Crafts Guild, a member group of the American Craftsmen's Council, held a four-day in- door exhibit at Westlake Shopping Center, Daly City, California, May 15--19. The show was sponsored by the Westlake Merchants Association.

Pottery, sculpture, jewelry and mosaics were among the craft categories of the exhibit. Potter), entries alone numbered over 400 pieces. The show was judged by Bob Koviak, San Francisco City College, and Graeme Keith, Curator of Decorative Arts at the De Young Museum. Herbert Sanders, an honorary member of the Guild, was a guest exhibitor.

First place award in pottery went to Ed Cromey, Millbrae, for a sculptural bottle form. A vase by Doris Chilton, Los Altos, was awarded second place, and a reduction-fired jar by Elizabeth Hell, San Mateo, placed third.

In the ceramic sculpture category, an unglazed re- duction-fired "Porcupine" by Dorothy" Johnson, Redwood City, won the top award. Elizabeth Heil's three-figure piece (See Cover) won second, and an unglazed abstract by Irene Mark, San Mateo, was awarded third place.

The Bay Area Arts and Crafts Guild was organized in 1953 to promote crafts of a high standard, to stimulate a discriminating public interest in craft and to foster friendly cooperation among craftsmen. The Guild, which has an exhibiting membership of 43, b.olds regular meet- ings programmed with lectures and demonstrations of in- terest to the various craftsmen.

Above left: Bottle Form with Sculptural E[/ect, by Ed- ward Cromey, Millbrae, is stoneware with a brown matt glaze. It is 10 inches high. First Award in Pottery.

Left: Reduction-Fired Jar, seven inches high, is by Eliz- abeth Hell, San Mateo. Third Award in Pottery.

Above right: "Porcupine," reduction-/ired black and buff stoneware, is by Dorothy H. Johnson, Redwood City. First Award in Ceramic Sculpture.

Right: Black Tea Set is by Bette Houston, San Mateo.

30 Ceramics Monthly

Bay Area Arts and Crafts Guild

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S,'l~/,'mb~r 1962 31

SHOW TIME Cleveland May Show

THE 44rH MnY SHOW, a pageant of work done during the past year by Cleveland area artists and craftsmen, opened at the Cleveland Museum of Art on May 16. Thousands of visitors viewed the opening of this show, as they have done each year since 1919.

The geographical scope of this exhibition includes Cleveland and the 13 counties of the Western Reserve. The purpose of the show is to give artists and craftsmen an opportunity to exhibit their creative abilities. The Museum refers to the show as a summation of Western Reserve talent--talent which rises to meet more stringent demands each year. During the years of its existence the show has attracted 2,904,750 visitors and sales have amounted to $670,000.00.

The 443 objects exhibited this year, chosen from 2,915 entries, represent the trend in today's art as felt and expressed by the 286 artists whose work was on view.

Jurors for the show were: Robert Turner, potter; Thomas S. Tibbs, museum director; Minor White, editor; David Hare, sculptor; Harold Joachim, museum curator; and Richard Diebenkorn, painter.

John Paul Miller, Cleveland, was given the Award for Excellence in Craftsmanship, the highest May Show cita- tion in crafts. The work of other craftsmen selected for outstanding merit is pictured on this page.

: !

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~ ~ ~!~ ; : ! i i i !~ i~ ~

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Above: Wall Cross, Silver Cloisonne and Ebony, by Charles Bartley Je[[rey, Cleveland.

Above right: Reduction Bowl by Janet Palovich, Kent.

Right: Terrace Bottle by Claude Conover, Cleveland.

32 Ceramics Monthly

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POTS AND PEOPLE Continued [rom Page 15

should be kept as to the source of materials, amount used and any other information that might allow the pot- ter to repeat what he has done if the result is interesting.

For purposes of experimentation, we might look in any of the following areas and expect to find at least some of these materials:

1. The driveway for gravel, sand, or clay.

2. The back yard for dirt. sand, clay or rock.

3. A machine shop for metal filings or abrasive dust.

4. Sawmill or cabinet shop for sawdust or wood shavings.

5. Builders' supply for clays, aggregates or pigments.

6. Seashore for sand, weathered rock or shale.

7. River delta or floodland for silt or im- pure clay.

8. Mountains for weathered rock or clay.

9. Desert for sand, clay or alkali deposits.

10. Brick or ceramic plant for clay, grog or aggregates.

I t is likely that not all these ma- terials, when mixed with clay, will result in something you like or think you can use. I would suggest, how- ever, that you keep these tests for possible use later on of the results. On the other hand, certain tests emerging from the kiln will give you immediate ideas for their use. In any case, try to avoid any pre-conceived notions about uses for the tests. Allow your imagination free play in incorporating the results into pieces that will express your individuality.

As an example of the value of the open-minded approach to experimen- tation, I would lik