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

One of the Great Book Buys of the Year!

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

Includes 32 pages in Full Co/or

MOSAIC TECHNIQUES New Aspects of Fragmented Design by M a r y Lou St r ib l ing

W h a t e v e r your c r e a t i v e i n t e n t , whether it is di- rected toward functional objects for e v e r y d a y use or ambitious works of great size and pro-

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

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

This beautiful volume contains 456 "how- to" photographs, diagrams, and mosaic examples in black-and-white and full color.

Price: S6.9S

N'i SIMPLE POTTERY by Kenneth Drake

Pottery need not be a complicated business involving a lot of expensive ap- paratus, for a wide range of attractive pots, tiles, plates and dishes can be made with ordinary h o u s e h o l d equip-

ment. Kenneth Drake takes the beginner through each stage of simple pottery, ex- plaining how to buy and prepare the clay, how to handle it, and how to make a variety of useful objects in exciting shapes. He covers coiled, slab and pinch pottery, and also deals with making plaster molds, exploring decorative techniques, and g[az- ing and firing. In the foreword of the book Mr. Drake says, "This book does not set out to tell you what to make, but it suggests ways and means of arr;ving at a successful relationship with the most accom- modating and fascinating material." Over 100 black-and-white photographs, 4 pages of full color, and numerous diagrams provide a step-by-step commentary which tells the beginner all he needs to know. This small (5" x 71/2 " ) but valuable book comes in a hard cover.

Price: $1 .95

POTTERY STEP-BY-STEP by Henry T revo r

This unique pottery book is a su- perb introduction to the basic methods of making pottery, as well as a valuable source of reference material on schools, museums, c r a f t associations,

and suppliers. In addlt;an, it contains an inspiring gallery of modern pottery masterpieces. Step-by-step, with the aid of detailed demonstration photos, the author instructs the reader on every stage of pottery making, from clay to finished pot.

The reference material makes this book particularly suitable for library, school, and institutional use. Pr ice: $7.50

WE PAY POSTAGE CERAMICS MONTHLY Book Department 4175 N. High St., Columbus, Ohio 43214 Please send me the follawincj books: [] Step-by-Step Ceramics @ $1.95 [] Mosaic Techniques @ $6.95 [] Pottery Step-by-Step @ $7.50 [] Simple Pottery @ $1.95

NAME

ADDRESS

CITY STATE ZIP I enclose [] Check [] Money Order

(Ohio residents odd 4% Sales Tax}

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O c t o b e r 1968 3

M ODEL ING CLA Y Used by leading SCULPTORS, POTTERS, SCHOOLS, INSTITUTIONS, and STUDIOS!

NOTE: We now manufac ture FIVE dif ferent MOIST MODELING CLAYS m When ordering, please specify exact kind E ALL five may be combined to secure quant i ty price! 1. MEMPHIS BRAND WHITE MOIST MODELING CLAY (Cone 05 to 7) 2. MEMPHIS BRAND RED MOIST MODELING CLAY (Cone 05 to 1) 3. MEMPHIS BRAND BUFF MOIST MODELING CLAY (Cone 05 to 7) 4. EX-CEL BRAND WHITE MOIST MODELING CLAY (Cone 05 to 5) 5. STONEWARE MODELING CLAY (Cone 2 to 10)

PACKED IN 12½ Pound Plastic bags Ex-Cel, B u f f & Stoneware Red White

25 Lbs. 8c per Lb. 12c per Lb. 8c per Lb. 50 Lbs. 7½c per Lb. 10c per Lb. 7c per Lb.

100 Lbs. 6½c per Lb. 9e per Lb. 6c per Lb. 500 Lbs. 5½c per Lb. 7c per Lb. 5c per Lb.

1000 Lbs. 4½c per Lb. 6c per Lb. 4c per Lb. 2000 Lbs. 4c per Lb. 5c per Lb. 3Vze per Lb.

ALL PRICES PLUS 5% PACKING CHARGE (Prices are F.O.B. Memphis or Jacksonville)

HOUSE OF CERAMICS, INC.- FLORIDA HOUSE OF CERAMICS 1011 N. Hollywood St. 5350 W. Beaver Sf. Memphis, Tennessee 38108 Mail All Orders to Memphis Jacksonville, Florida

begins w i t h . . . R E W A R D . H A R T o o o o PRODUCTS o o o o REWARD CERAMIC COLOR MFRS., INC.

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314 Hammonds Ferry Rd., Glen Burnie, Md. 21061

Ceramics Monthly

B & I POTTER Y

MAKER Power Driven

Var iab le Speed

$59so F.O.B. less belt, motor

Professional features, versatile enough for advanced craftsmen, yet simple enough for beginners' use. Precision built, compact, portable. Mounts anywhere. New variable speed reducer with adjustable foot controls provides speed range from 38 to 130 r.p.m. Built-in water container, attached wedging wire, reversible 9-1nch throwing head with recess for molding plaster bats. Ideal for school or home studios. Also available for pottery maker is a new workbench with a convenient seat to allow operator to control position at all times. $22.50 each, F.O.B. Burlington, Wis. Order by mail now . . . or write for complete literature.

W r i t e fo r

L a p i d a r y Equ ipmen f

L i t e r a t u r e Budington, Wisconsin 53105

V o l u m e 16, N u m b e r 8

M O N T H L Y

O c t o b e r 1968

Let te rs to the Edi tor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Answers to Quest ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Sugges t ions from Our Readers . . . . . . . . . . . . . . . 10

Itinerary . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Karl Mar tz by Sally Gallaway . . . . . . . . 12

Stacking the Kiln by Rober t F. Noll . . . . . . . . 18

Slab W r a p p i n g and Wheel Throwing by Joel E. Edwards . . . . . . . 19

Charac te r i s t i cs of the Craf t Market by Norber t N. Nelson . . . . . . . . . . . . . . . . . . 22

Ceramic Screen Dividers by A r t h u r B. AdaAr . . . . . . 23

A Sense of Purpose by Helen Mason . . . . . . . . . . . . . . . . . . 26

Po t t e ry in the Jun ior High School by Morris Taf t Thomas . . . . . . . . . . . . . . . . . . . . . . 28

Adven tures with Liquid Enamels by Ka the Berl . . . . . . . 31

CeramAet iv i t ies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

On Our Cover

Free-blown and trimmed decanter of distinctive surface texture with pendant stopper is by Per LiJtken, a designer at the Kastrup- Holmegaard Glassworks. The decanter, which was made in 1966, is of clear, colorless glass. In view of the revival of interest in handmade and handblox~'n glass, an exhibition titled "140 Years of Danish Glass" is on tour in this country and Canada. The show, which is being circulated by the Smithsonian Insti- tution Traveling Exhibition Service, is on view in Portland, Ore- gon, through October 6; it can be seen from October 19 to November 17 at the Denver Art Museum.

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAGER

Business Manager: SPENCER L. DAvis

Circulation Manager: MARY RUSaLEY

Editorial Assistant: CONNIE BELCHER

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

Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: TR 7-7556, Area Code 213.

Copyright 1968 Professional Publications, lnc.

Ceramics Monthly October 1968, Vol. 16 - - No. 8. Pub l i shed mo n th ly except J u l y a n d A u g u s t by P ro fe s s iona l Pub l ica t ions , Inc . - - S. L. Dav is , P re s . , P . S. E m e r y , See.; a t 4175 N. H i g h St ree t , Columbus , Ohio 43214. Second class p o s t a g e pa id a t A thens , Ohio, U . S . A . Subsc r ip t ions : O n e y e a r $6; Two yea r s $10; Th ree yea r s $14. C o p y r i g h t 1968. All r i g h t s reserved . The a r t i c l es in each issue of C e r a m i c s Month ly a r e indexed in The R e a d e r s ' Guide to Per iod ica l L i t e r a t u r e . M i c r o f i l m copies a r e ava i l ab le to subsc r ibe r s f r o m U n i v e r s i t y Mic ro f i lms , 313 N. F i r s t St . , A n n Arbor , Mich igan . M a n u s c r i p t s a n d i l lus t ra t ions d e a l i n g w i t h c e r a mic a r t ac t iv i t i e s a r e we lcome a n d will be considered fo r publ icat ion. M a n u - s c r i p t s should be typed double-spaced and r a n g e f r o m 500 to 2000 words . Send M a n u s c r i p t s a n d cor respondence abou t t h e m to t h e Edi tor , C e r a m i c s Month ly , 4175 N. H i g h S t ree t , Columbus , Ohio 43214.

Pacemaker for the metal enameling industry for over 70 years, Thompson now gives greater scope to the artist's original creations. See for yourself in the new FREE Thompson catalog and Color Guide, featuring:

• 233 new ways with color enchantment

• New line of pre-formed shapes in 18 gauge copper

• Steel tiles

• Complete line of tools, findings, working materials

• New model kilns

Your Thompson Catalog and Color Guide is mailed to you within 24 hours after receipt of the coupon . . . and so will most of your material orders. Get up to date wffh Thompson TODAY!

THOMAS C. THOMPSON COMPANY Dept. CM-10 1539 Old Deerfield Road Highland Park, Illinois 60035

Please rush my FREE catalog of complete enameling craft supplies with Color Guide today.

NAME .. . .

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

CITY . . . . . . STATE 7 1 P _ _ k . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . •

October 1968 5

Share your thoughts with other CM readers--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, Ohio 43214.

FROM WORKSHOP During the past three years you have

been kind enough to include my activity in your Summer Workshop listings.

You might be interested to know that during this time I have had quite a number of inquiries, some of which resulted in pupils coming to my studio for study from Tucson, Arizona; Toronto, Canada: Paris, France; Ann Arbor, Michigan; San Bernardino, California; Rio de Janiero, Bra- zil; Cuerbaca, Mexico; and Vancouver. British Columbia. To say I deeply ap- preciate CERAMICS MONTHLY is putting it mildly. Please accept my thanks for your interest. Mary Sharp

Los Angeles, Calif.

FROM STUDENT I have been a subscriber to your mag-

azine for four years. In my work I have been greatly stimulated by the various articles and suggestions on enamel, ceram-

LETTERS ics, and glass work, which I have applied as new techniques.

During my visit to the United States, I visited and took lessons with Kay Kinney of Laguna Beach and Mary Sharp of Los Angeles, both of whom were listed in CM. I wish to express my appreciation to you for enabling me to make these con- tacts. In this way I am enriched in nly ideas and my work will profit by it.

Mrs. Gisella Demajo Rio de Janeiro, Bazil

GLASS BLOWING IN CANADA

On page six of your June issue there is a letter from "a Canadian reader" in Burlington, Ontario.

As a director of a recently formed School of Design affiliated with the Sheri- dan College of Applied Arts and Technol- ogy, I would like to advise this reader that we plan on introducing Glass Blowing as an option for Ceramics majors in their second year at our school . We would welcome any inquires from Canadians interested in a two or three year full-time college program in Ceramics, as well as Wood, Textiles, and Metal.

Donald Lloyd McKinley, Dir. Sheridan College School of Design

Port Credit, Ont.

MORE ON POTTERS OF TODAY I can assure you that many studio pot-

ters want to see more of the great art potters of today . . . . Updating your magazine in this respect would attract a whole raft of people you aren't tempting now!

]udy Ono[rio Rochester, Minn.

GETTING BETTER Let's have more complete listings of

coming ceramic shows. Also, the reasons why judges have chosen specific pots. Good magazine; getting better. Keep growing! L. C. Rumbalski

Rochester, N. Y.

LIKES CM MIX Your "mix" is good. I enjoyed the

article Oil Nigeria (in the February 1968 issue) and the one on Leach (in the March issue). Mrs. H. F. Walton

Philadelphia, Pa.

HANIWA A BEAUTY The Haniwa Portfolio (in the June 1968

issue) is a Beauty! These portfolios are becoming treasures--something like having your own museum. As usual, the photos, text, and paper are the best.

Constant Reader Pennsylvania

For The Discriminating Ceramist MODEL A m

Fire immense loads daily This enormous 10 sided kiln is 27" deep and 23%" in diameter for a full 7 cubic feet of firing capacity. Fast firing and fast cooling allows you to fire immense loads daily. The three movable sections have their own A-way switches and pilot lights. Use the three sections to fire your tallest lamps or top and bottom sections for many small pieces. Fires to cone 6 - 2300 °, everything from china paints to porcelain. Add a 41/2 ' ' blank collar for full 311h" depth.

EX¢LUSlVE! INCH OF BLOCK INSULATION IN LID AND BOTTOM

O IN STAINLESS STEEL

M O D E L A - 9 9 B . . . . . . $ 3 6 7 . 5 0 41/2 " blank collar, $29.50

~ FREE.. crating .. instruction manual steel stand.. 2 year guarantee..

DAWSON Automatic Kiln Sit ter / $42.00 installed at PARAGON\

Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to

~[~P_JIl~l l t . g J ~ ~ , . g J ~ . Dept. CM Box 10133, Dallas, Texas 75207

6 Ceramics M o n t h l y

NEW Iff MP£R TOOLS! We don't have the room to list the many new tools being added to our line for the ceramic hobbyist as wel l as the sculptor and potter. While our new catalog is being compiled and prepared for fall issue we can furnish you information through our free leaflets.

210 CLASSIQUE $2.95

211 CLASSIQUE $2.95

212 CLASSIQUE $2.95

CLASSIQUE SERIES

Handmade rugged construction and formed out of imported South American hardwood to the basic patterns most useful in the trade, the tough high carbon steel heads are sharpened and firmly set to the handle with solid brass ferrules. Approximate overall length 12 inches.

KEMPER 201 $1.95

Approximate overall length 10¼ inches each end of different round loop size with sharpened heavy high carbon steel firmly set in hardwood handle using brass ferrules to anchor.

KEMPER SPECIAL NO. 1 $!.60 ea.

KEMPER SPECIAL NO. 2 $1.60 ca.

KEMPER SPECIAL NO. 3 $1.60 ea.

KEMPER SPECIAL NO. 4 $1.60 ea.

KEMPER "SPECIAL" SERIES $1.60 ca. The formed blades are sharpened spring steel formed in combinations to the shapes most used in many phases of wheel and sculpturing work.

RAKU TONGS RETAIL $8.50 ca. These are hand formed and forgecl tongs with.an approximate ove}all length of 29% inches. Tubular steel handles for lighter handling with solid steel gripping bar stock in the work crossing area, the jaws are steel toothed for better gripping of small pots and pieces with the long reach needed.

RE-1 $1.60

RE-2 $1.60

RE-3 $1.60

RE (Ribbon end) SERIES $1.60 ea. (Approximately 9¼ inches long)

Handmade in every ~,etail using imported South American lemonwood for longest wear and smooth action on clay. Sharpened tough high carbon steel is sharpened for cutting purpose and use.

LOOP TOOL No. 7 RETAIL PRICE 85~ ca. Has the same high carbon tough cutting sharpened steel blade used in the other Loop Tools in this series for wider and smoother cuts up to its maximum width of 1~" .

LOOP TOOL No. 8 RETAIL PRICE 95¢ ca. The largest width in this series (approximately 13~ inches in width), this tool fills a requested demand for cutting and smoothing or leveling large and flat sur- faces andareas. Sharpened high carbon steel blade.

LOOP TOOL NO. 9 85¢ ea. Designed for grooving and recess cutting to varied depth and width.

Write for complete Catalog, enc/osing 50c (~:oin or stamp) for postage and hand l ing . Please include your Zip Code Number wi th address.

I"0 0 ~.% KEMPER MANUPACTURING CO.

P.O. BOX 545, DEPT. CM- I0 CHINO, CALIF. 91710

October 1968 7

There is more to pottery-making than arithmetic. But the simple addition to your library of these inexpensive Amaco publications can multiply teaching and learning skills. Ideal for classroom, studio and home, two texts, The Beginner & The Wheel and Ceramic Decoration, present the ceramic art from wedging clay to overglaze decoration. In the Throwing A Cylinder Iolio, twelve 11" x 14" prints outline the processes involved in throwing.

For more about Amaco texts, ceramic supplies and equipment, see your ceramic studio, school supply distributor, or write:

Dept. TLC AMERICAN ART CLAY CO., INC. • Indianapolis, Indiana 46222

Ceramic Decoration $1.50

The Beginner and The Wheel $1.50

Throwing A Cylinder $3.00

gmgGg

Manufacturers & Distr ibutors of the

• FOSTER POTTER'S WHEEL • P U G M I L L E D & D E - A I R E D C L A Y

Al l pugrni l led and de-a i red c lay is packed in poly bags 25 Ibs. per carton. RO-10 G r a y Stoneware . . . . . . . . . Cone 8-11 RO-72 Stoneware . . . . . . . . . . . . " 08-2 RO-20 Temmoku Stoneware . . . . . " 8-1 ; R0-81 Porcelain . . . . . . . . . . . . . . . 8-11 R0-62 Red Sculpture . . . . . . . . . . " 08-2 R0-30 Tern-Stone Blend . . . . . . . . " 8-11

• R A W M A T E R I A L S - - Oxides, Clays, etc. Distributors of

• O H A U S SCALES • O R T O N - - Cones

New Book - - Oct. Del ivery

KILNS m DESIGN, CONSTRUCTION, FIRING $10.00 by Daniel Rhodes

Postage paid on orders thru Nov.

WRITE FOR BROCHURE

Rovin Ceramics 74S6 Fenton St. Dearborn Heights, Michigan 48127

Phone: LOgan 3-2906

8 Ceramics Monthly

I/t for dealers i:°n'Y l " s i

................................ ]

]

lhis attractive heavy-wire magazine disp]ay rock is supplied free to every studio selling single copies of Ceramics Ivlonthly. It is port of a "full-service" pro- groin we offer ceramic studios everywhere. Learn more about this progrom now - - send the coupon below or write on your letterheod.

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

Circulation Manager CERAMICS MONTHLY 4175 N. High St., Columbus, Ohio 43214

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

YOUR N A M E

STUDIO

ADDRESS

CITY/STATE/ZIP__ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

Answers to

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

I recently decided to set up a little area in my studio and try to make my own glazes; however, when I went to the

hardware store to get a piece of screen for screening the glazes, I was bewildered by the variety of mesh-sizes available. The store had everything from 15-up to 200-mesh/ Now, can you suggest which one I should get to force glaze through? --] .P.F.

T h e degree of f ineness in the screen will depend on wha t kind of f inished results you want . Glaze texture and color will be more un i fo rm if a f ine-mesh screen is used. Coarser screens will give r icher textures. If you in t end to use a single screen, perhaps a 60- or 100-mesh screen would be best. If you feel you can afford two, pe rhaps a 60-mesh and a 120-mesh would give you some exci t ing contrasts in results.

1 /ire in an electric kiln and have often considered doing some reduction firing with silicon carbide, instead of reg-

ular reduction (which everyone says will shorten the life of the kiln elements). First, is it true that reduction will harm the elements? Second, can any other glazes be fired in this way beside the copper reds?--V.B.

It genera l ly is conceded tha t con t inued a tmospher ic reduction f ir ing will d a m a g e electric kiln e lements and shor ten their life. Local reduct ion, us ing silicon carbide in the glaze, allows the pot ter to fire a single pot (or more) by reduc t ion and the rest of the pieces in the kiln in an oxidat ion a tmosphere . In addi t ion to copper red glazes, celadons can be had also.

What exactly is bone china and what advantage or dis- advantage does it have over other china or porcelain bodies?

- - M . F .

Bone ash is used to flux the body in order to reduce the m a t u r i n g t empera tu re and to increase the t rans lucency. O the r - wise it is m u c h like p o r c e l a i n - - h a r d , white, and t rans lucent in thin section. Its ma in d i sadvan tage is a t endency to warp.

Writers in your magazine and in some of the standard books on ceramics refer to "clay" and to "clay body." Is there a

difference or do these two terms mean the same thing?--S.E.D.

While some writers do use the two te rms to m e a n the same thing, the genera l consensus seems to be tha t the te rm "c lay" refers to a clay tha t occurs in na tu re and needs no (or little) change before it can be used in the studio. A "clay body" m a y be a na tu ra l e a r thenware or s toneware clay tha t is changed by addi t ions tha t will give it more plasticity, a different color, or a d i f ferent f i r ing r ange ; or it m a y be a clay ( such as porcela in) tha t is c o m p o u n d e d ent irely f rom raw materials .

I recently bought some lump enamels for a special project but didn't use them so I decided to "'grind my own" powder

/ tom these lumps, using a mortar and pestle. I t worked pretty well, except for the fact that the lumps kept flying out of the mortar. How is grinding done to prevent this nuisance?~E.H.L.

Add jus t enough water to the mor t a r to cover the ename l chunks . W h e n you strike the chunks with the pestle, the water keeps the ename l chunks in the mor ta r . If the chunks are very large, it is best to reduce t hem to a smal le r size before us ing the above t echn ique : H e a t the chunks in the kiln on a f i r ing rack to abou t 800°F, then p lunge t h e m into cold water w h e n they are taken f rom the kiln. Th i s shat ters the lumps and gives you smal ler part icle sizes for gr inding.

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

C E N T E R I N G 25 lbs. or m o r e . . .

an imposs ib l e goa l?

Not on the Shimpo-West RK-2.

The pot ter must f i rs t consider his confidence and skill, but on our wheel he can feel assured of the response and the power needed to do a heavy job. This same wheel affords smooth vibration-free operation at lower speed to finish the pot. Total depend- ability and flexibility are what the RK-2 offers the potter, from 0 to 200 rpm.

Write today for free literature.

S H I M P O - W E S T P. O, Box 2315, La Puente, Calif. 91746

O c t o b e r 1968 9

. . . our newest Handbook DECORATING POTTERY with clay, slip and glaze by F. Carlton Ball

Many techniques for decorating pottery are presented for those who want to explore the possibilities of surface enrichment but lace skill or confidence in drawing and painting. The methods devised by Mr. Ball provide some simple means of decorating wlth clay. sllp, and glaze. Beautifully illustrated. 64 pages $3.00

order these other famous CM Handbooks

THROWING ON THE POTTER'S WHEEL by Thomas Sellers Here's a complete manual on how to use the potter's wheel. Covers all basic steps from wedging clay to making specific shapes. 80 pages $4.00

CERAMIC PROJECTS edited by Thomas Sellers Outstanding group of projects for the classroom, home and studio. Fountains, planters, jewelry, bottles, and bowls are included. 64 pages $2.00

UNDERGLAZE DECORATION by Marc Bellaire This complete handbook has all the answers on materials, tools and technique. Step-by-step projects are profusely illustrated. 64 pages $3.00

COPPER ENAMELING by Jo Rebert and Jean O'Hara Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. In- valuable to teachers and students alike.

64 pages $2.00 BRUSH DECORATION FOR CERAMICS by Marc Bellaire A fascinating book with easy-to-follow instruction on the use and care of brushes. Excellent for be- gTnners. 64 pages $3.00

I- WE PAY POSTAGE I CERAMICS MONTHLY Book Department I

I 4175 N. High St., Columbus, Ohio 43214 I Please send me the following: DECORATING POTTERY @ $3 [ ] POTTER'S WHEEL @ S4 I I I i i UNDERGLAZE DECORATION @ S3 [ ] CERAMIC PROJECTS @ S2 I I r-ICOPPERENAMEUNG@$2 r--IBRUSH DECORATION @S3

JName J Address.

I City. State 7io I I enclose I-1 Check [ ] Money Order

(Ohio Residents add 4% sales tax.) J DEALER INQUIRIES INVITED ~1

10 Ceramics Month ly

S U G G E S T I O N S [rorn our readers

CONVENIENT DAMP BOX A discarded portable food cooler or ice box, the type used

by campers, makes a convenient damp box for keeping unfin- ished clay pieces moist. I have kept pottery in good workable condition for as long as a week by adding a small container of water. --Mary Feyo, Pequot Lakes, Minn.

STRETCH KILN CAPACITY Owners of commercial top-loading kilns can easily stretch

their kilns' capacities to accommodate taller pieces. By the careful cutting and placing of lightweight porous insulating bricks, the front end of the lid may be raised several inches, allowing larger pieces to be fired in one piece (left). The sides as well as the front should be carefully bricked up; the bricks should fit as tightly as possible; and clay can be rubbed into the chinks if desired to stnp any excess heat loss. A piece of

metal sheeting could be placed around the bricks, or a second row of bricks used on the perimeter of the first to make the insulation more effective. Once the bricks have been cut, they may be used again and again. Number each brick to avoid confusion when assembling this stretching device. If the kiln construction permits, the entire lid may be unfastened and raised evenly on all sides for extra height (r ight) .

--]ames D. Fineman, Providence, R.I.

BISQUE CLEAN UP Occasionally some undesirable sharp edges are missed when

greenware is cleaned prior to firing. If this happens, you can remove them after the Cone 06 bisque firing by using abrasive flint paper. Uusually, 6 / 0 works best, but any grit may be used.

--Roger W. Beeker, Boone, N.C.

BIRCH CORKS The corks tha t Father Patrick Nidorf suggested using for

wheel-thrown piggy banks (February 1967 CM) might not be so readily available for everyone, as we found out. For substitute corks, we purchased a birch dowel rod (these come in many different width sizes, and about 30 to 36 inches in length) and made our own plugs from this. We marked the dowel off into one-inch lengths, placed the dowel in a lathe and tapered the end, then cut off the shaped one-inch section with a saw. Following this, we smoothed the wood lightly with sandpaper. We repeated this same action for each plug needed. The cost is very small, at least compared to the vacuum bottle corks we finally found! And while the corks do involve a small amount of work, it can all be thought of as part of the individually- made product. Esther Frisbie, Brooks, Me.

DOLLARS FOR YOUR IDEAS Ceramics Monthly pays up to $5 tor each item used in this column. Send your suggestions to CM, 4175 North High St., Columbus, Ohio 43214. Sorry, but we can't acknowledge or return unused items.

WHERE TO S H O W Send your show announcements early: "Where to Show," three months ahead o[ entry date; "'Where to Go," at least six weeks be[ore the opening.

CALIFORNIA, SACRAMENTO

March 15-April 27, 1969 "California Crafts VI, Pacific Dimension,' sponsored by the Creative Arts League, is the sixth biennial. Open to craftsmen residing in Alaska, California, Hawaii, Oregon, and Washington. All craft media; Slides of work due Jan. 4; Entry fee; Cash and Purchase Awards. For entry forms, write: C C VI, Crocker Art Gallery, 216 O Street, Sacramento 95814.

COLORADO, PUEBLO

November 1 Eighth Annual "Own Your Own" exhibition and sales, sponsored by Southern Colorado State College and Pueblo Service League, is open to residents of Colorado, Wyoming, Montana, and New Mexico. Write: Chairman, Art Department, Southern Colorado State Col- lege, Pueblo 81005.

CONNECTICUT, MANCHESTER

October 25-27 The Seventh Annual Show of the Manchester Arts and Crafts Festival, sponsored by the Manchester Fine Arts Association; for entry forms, write to: Manchester Lions Club, Pcst Office Box 614, Manchester 06040.

FLORIDA, DELAND

November 9-27 The 18th Annual Flori- da Craftsmen Exhibition, to be held at Stetson University, is open to members of Florida Craftsmen. Juror; Awards; Work due October 21-24. For information and applications, write: Charles Williams, Art Department, Stetson University, Deland.

INDIANA, INDIANAPOLIS

November 10-24 "The Eleventh Annual Art for Religion Exhibit" will be held at Bethlehem Lutheran Church and is open to present residents of the State and students of art schools in Indiana. Categories include liturgical crafts (ceramics, enamels, stained glass, and mosaics); Jury; Cash awards; Entry fee; Work due Oc- tober 30-November I. For entry blanks, write: Mrs. Sam Light, Bethlehem Luther- an Church, 526 East 52nd St., India- napolis 46205.

KANSAS, LINDSBORG

October 18-19 First Annual Art and Craft Festival will feature work by Kansas artists and craftsmen. For information, write: Norman Shogren. Rte. 2, Linds- borg 67456.

MIS SOURI~ SPRINGFIELD

November 3-December 1 The 38th An- nual Ten-State Regional Exhibition, spon-

I T I N E R A R Y sored by the Springfield Art Museum, is open to residents of Arkansas, Alabama, Iowa, Kansas, Louisiana, Mississippi, Mis- souri, Nebraska, Oklahoma, and Tennes- see. Media include crafts; Jury; Prizes; Entry fee; Entries due October 16. Write Springfield Art Museum, 1111 East Brook- side Drive, Springfield 65804.

NEVADA, LAS VEGAS

November 3-December 2 The 12th An-

nual National Art Round-up, sponsored by the Las Vegas Art League, is open to adults and includes work in ceramics. Entry fee; Jury; Awards; Entry cards and work due October 21. Write: Las Vegas Art League, 3333 W. Washington, Las Vegas 89107.

NEW YORK, NEW YORK

October 15-December 3 "All Things Continued on Page 34

A \ NO matter the fashion or fad, MAYCO COLORS@ hasl~e glaze to match. And when~want / \ that just-right color for your piece, try MAYCO's dependable underglazes--you can l \ choose from 50 brilliant opaque hues. No matter the product--Glaze, / \ Underglaze, One Stroke--you can be sure they're America's finest / \ colors when they carry the MAYCO label. So easy to apply / \ and they fire at Cone 06. / Mayco color-/ /

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O c t o b e r 1968 11

Karl Martz by SALLY GALLAWAY

MANY TRADITIONAL JAPANESE POTTERS are noted for making one kind of pottery, spending all their working years with one clay, one glaze, and one motif. The work of such traditionalists is immediately identifiable.

So are most pieces by Karl Martz recognizable, despite his use of many clays, many shapes, and many glazes. In fact, the variety of pots made by Martz is exceeded only by his enthusiasm for experimentation. As a professor of fine arts at Indiana University, Martz feels it is important to keep working and thus retain a fresh approach to his teaching. Earthenware, stoneware, and porcelain take shape under his hands, formed by slabs, coils, or on the wheel. But, whether massive and strong or small and delicate, his pieces all display a subtle relationship, and each is distinctly a Martz pot.

His work is represented in many permanent collec- tions, among them the Smithsonian Institution, the Museum of Contemporary Crafts in New York, the Museum of Modern Art in Tokyo, and Portugal's Na- tional Museum of Contemporary Art in Lisbon.

Knowing that a potter's family often finds itself in the plight of the shoemaker's children, Karl's wife Becky, and sons Eric and Brian laid out a plan some years ago. From time to time, one member of the family would lay claim to a special pot and put an "ownership" sticker on the bottom. But even this system does not always work. For example, when Martz received an invitation from the Smithsonian Institution to send a

p o t for exhibition, he selected one to which Eric had already laid claim. The judgment of both was confirmed when, after the exhibition, the Smithsonian acquisition committee wrote that they would like to have the piece in their permanent collection. Eric thereby became an official donor to the Institution and the recipient of of- ficially-inscribed thanks.

Happily, however, many other pots by Karl Martz are still in his family's "permanent collection" and these, displayed with the work of other potters, give the Martz home in Bloomington, Indiana, the air of an informal museum of contemporary ceramics. The many built-in cabinet shelves provide a perfect setting for the work of more different potters than a visitor could count.

The studio shared by Karl and Becky in their home has an orderly but well-used look. Sacks of clay, jars of oxides, potter's wheel, ball mill, spray booth, and kiln are all efficiently placed. On the wall near the kiln is a gigantic pyrometer which charts temperatures. This unusual device also will hold the kiln at any heat desired. To conserve space, drying racks are slung overhead from the ceiling in Japanese fashion.

Like so many other artists, Karl Martz became a

12 Ceramics Monthly

potter more or less by accident. While working for his degree in Chemistry at Indiana University, he also took many art courses. His family moved to Columbus, Ohio, at the end of his Junior year, and Karl went along for the summer to take additional art courses at The Ohio State University, where he discovered "Ceramic Art" listed in the catalog. When he registered for the course, he expected to be "drawing pictures of pottery." To his delight he found that he actually would be making pottery. Martz says, "As a child, of course, I had experi- mented with clay, as most children do, even to firing my efforts in a pit. Now the chemistry of clay and glazes began to fascinate me and I decided art and chemistry would be a perfect combination." In the mid thirties, few colleges offered courses in ceramic art, so Karl says "I lucked into it."

Although he was already determined to become a potter, Martz completed his degree at Indiana University in chemistry. Then came a stint of work with the once- famous but now defunct Brown County Pottery near Nashville, Indiana. Here, as an apprentice, he did the odd jobs and heavy work. Most vividly he remembers the hours of mixing clay with a perforated hoe, much as one mixes cement. "In return," Karl says, "I was allowed to throw and sell my own pottery." Pieces from the Brown County Pottery are now collectors' items.

Martz returned to Ohio State University for a year of more ceramic art courses, and again spent the next summer at the Brown County Pottery.

Karl Martz and Rebecca Brown were married in 1935, and set up their own pottery on the tourist route in the picturesque hills of southern Indiana. They lived in a log cabin and built a crude, oil-fired kiln about 30 inches high. According to Karl, "That kiln smoked like blazes, and some of our neighbors were sure it was a moonshine still, but we were never raided. We called it our 'all-purpose-multi-temperature kiln.' It got so hot at the bottom we did copper-red reduction there, along with low temperature chrome reds at the top - - and all in the same firing."

Selling pots by the side of tile road was something of a hand-to-mouth existence. Karl mowed lawns and painted signs, and kept the kiln loaded as well; Beck)' worked as an assistant in the Brown County Art Gallery in order to add to their income. Martz, greatly influenced by the philosophy of Charles Binns, was determined to make only individual, distinctive pots, so a seemingly- profitable commercial opportunity also presented problems. "One large city department store was a major customer," Karl remembers, "but the buyer then insisted on ordering three dozen or even a gross of a one-of-a-

I

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Karl Martz is pictured statzding in [ront o[ his kiln. The 18.-inch bowl he is holding was decorated with iron o~ide brushed on [reely with a lO-inch ]apanese whisk broom brush, then glazed with Glaze ~1175 (See page 16). The piece was reduction [ired to Cone 7.

O c t o b e r 1 9 6 8 13

Porcelain blue-on-white covered jar and ink box (above) were made by Martz in Kyoto, Japan, during a five-month stay in 1963. This type of ware is traditional in Japan but the precisely-defined technique is still innovative to many American potters.

Unglazed coil-built bottle (right) a'as constructed o/ heavily grogged clay with granular manganese added, then scraped to bring out the mixture. 16~ inches high. In the permanent collection of the Smithsonian Institution, Washington, D.C.

kind pot when we had already gone on to other shapes." Any debate in his mind about what direction Martz

should take as a potter was eliminated by World War II. After seven years as studio potters, Karl and Becky sold all their equipment in 1942 and moved to Chicago, where Karl worked for several months in the ceramics laboratory of a steel mill. Later, at the Armour Research Foundation, he worked on the formulation of a crucible composition and on ceramic molds for the casting of non- ferrous metals.

Karl says that he had not planned to become a teacher. When, after the war, he accepted a position teaching ceramic art at Indiana University, he really expected to stay only a few years. However, he had un- derestimated the appeal of teaching and his natural apti- tude for it. Twenty-two years later he is still at the University, now as Professor of Fine Arts.

Martz is justifiably proud that three of his students have been awarded Fulbright Grants for study abroad in ceramic arts. The Indiana University Ceramic Art De- partment has grown at a rapid rate. At the present time 60 undergraduate students and 15 graduate students work with the twelve tons of clay delivered each year.

As a teacher, Martz feels that students must learn

14 Ceramics Monthly

sound craftsmanship and acquire a "ceramic vocabulary" before they can express themselves freely in clay. There- fore, he assigns his first-year students projects which force them to work a wide variety of techniques. "I 've learned that there is a functional as well as esthetic reason for doing things right. The first time I made a teapot, I set the spout so low the tea spilled over when the pot was only half full. In class, I point out some of the pitfalls a potter must avoid, but I believe each student learns by his own mistakes and will find his own solutions to his problems.

"The approach to clay has changed over the last 15 years--it is a freer, more sculptural concept, with or without having utilitarian value."

Martz is neither encouraging nor discouraging to a student who hopes to make a living as an independent potter, but he advises work as an assistant to an establish- ed potter to learn something about production and marketing. He realizes this may be difficult, but believes that a few such jobs are available now, and there will be more in the future. Karl commented that at a recent convention of college teachers in ceramic art, he was encouraged to learn that the number of full-time potters is steadily increasing and that several teachers are con-

Fifty inch button floor vase (far right) has a speckled yellowish buff color that results from the use of a matt Albany slip glaze covered with a matt glaze and a final spray of 40% solution of nickel sulphate. Collection of Mr. & Mrs. R. H. Menke, Huntingburg, Ind.

r

vinced of enough interest in pottery to leave teaching and count on making a living selling pots.

The special interest that Martz has in Japanese ceramics began in the 1950s when he attended a Leach- Hamada-Wildenhain workshop at Black Mountain Col- lege in North Carolina. This interest was strengthened in 1962 when Kondo Yutaka spent a year at Indiana Uni- versity studying American pottery. "Kondo is a graduate in ceramic art and a full faculty member at Kyoto City College of Fine Arts. His year here was beneficial on both sides; we learned from Kondo as he learned from us." I t was only natural that when Martz received a Ford Foundation travel grant for a five-month sabbatical study of ceramics in Japan in 1963, he was welcomed at Kyoto City College.

Karl was fascinated by the many community kilns in Kyoto. In the one nearest the college, walk-in reduction chambers and oxidation chambers made it possible to fire a variety of work at the same time. Space was rented for student work, for factory-produced tableware, and for industrial porcelain insulators. Professional firemen tend- ed the eight-chamber, wood-burning kiln to bring it to Cone 9 or 10. Martz notes that even in 1963, however, the trend was toward electric kilns. Because of the dense,

black smoke that wood-burning kilns produce, they are now banned from many inner-city areas in Japan.

Other changes also are affecting young Japanese potters, and Martz greatly admired many of the non- traditional pieces he saw in Japan. More of this work, he feels, should be exhibited in the United States. I t is particularly difficult, he points out, for young Japanese artists to break with tradition, because they are expected by their potter-fathers to carry on the family's same beautiful but confining style. Martz himself, while he was in Japan, worked with stoneware in the folk-art style, as well as with the blue-on-white porcelain pieces which are traditional in Japan but still innovative to many American potters. Karl, who describes himself as "rather precise by nature," enjoyed the challenge of working in the precisely-defined technique of Japanese porcelains.

Though Karl Martz says it often takes more time to crate a pot for shipping than to create it, his pottery has been shown in international, national, regional and state exhibitions where he has won many prizes and awards.

On the other side of the coin, Martz has often served on juries for exhibitions. " I enjoy being a juror, even though it's sometimes a difficult job. I find it exciting to see all the different styles and new things going on."

October 1968 15

LONG-TIME READERS of Ceramics Monthly will think of Karl Martz as an old friend and valued teacher. The first of his more than 25 articles appeared in the Feb- ruary 1953 issue of CM, followed by the "Lively Art of Ear thenware" series.

Martz believes that potters are ingenious and like to adapt a technique to their own purposes. The one he describes here involves the use of a Japanese straw "whisk broom" to give a bold, yet subtle decoration. This brush measures ten inches from handle to tip.

"Try a brush of this sort with engobes or with glaze on glaze," he suggests. "Gather grasses and straw and make your own brushes of various sizes. Some will work, some won't. To avoid the flat, even coverage that an ordinary whisk broom would produce, the brush

should have an untrimmed, broadly-tapering end. The variation in length and size of the individual straws assures variety in size of lines in the decoration."

Martz uses a mixture of 85 grams of iron oxide and 100 cc. of water, and brushes this on bisque with strong, free strokes. "Stir the oxide mixture vigorously with the brush, then go 'whoosh , ' " he says. The 18-inch plate illustrated (in the picture of Karl Martz in front of his kiln) was decorated in this manner, then covered with the following glaze and reduction fired to Cone 7.

C O N E 7 R E D U C T I O N GLAZE # 1175

Nepheline Syenite . . . . . . . . . . . . . . . . . . . . . . 22% Redart Clay . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Whiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Albany Slip Clay . . . . . . . . . . . . . . . . . . . . . . 10 Sadler Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Rottenstone (obtained from paint s to re ) . . 10 Lepidolite . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Lead Silicate . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Bone Ash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Flint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

100%

This glaze is olive green in color. The iron oxide brushed under it comes through in red and black.

Here is a heavy-bodied Cone 04 slip for painting, which shows good brush strokes:

Ferro Frit 3257 . . . . . . . . . . . . . . . . . . . . . . . . 75% Kaolin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

100%

This slip is opacified with 4. to 8% tin oxide or 10 to

16 Ceramics Monthly

20% Zircopax, depending on the opaqueness desired. Sieve ingredients and make into a slip by mixing with the following solution, prepared separately, until brush- ing consistency is obtained:

Glycerin . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 part Karo Syrup . . . . . . . . . . . . . . . . . . . . . . . . . I part Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 parts

The glycerin and syrup prevent the slip from drying too quickly on the clay, and permit longer brush strokes. Apply the slip decoration to a freshly-sponged, leather- hard surface. Let dry completely and apply the following glaze. Complete with a single firing at Cone 04..

C O N E 04 T R A N S P A R E N T ( ; L A Z E

(for Slip Painting)

Frit 3396 (Ferro) . . . . . . . . . . . . . . . . . . . . . 50% Nepheline Syenite . . . . . . . . . . . . . . . . . . . . . . 15 Borax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Ball Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Whiting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4. Flint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

100%

About the following useful glaze, Martz notes: "I feel I really should apologize for presenting such an accumulat ion of raw mater ia ls- - ten ingredients--some of which are supplying the same oxides. But it just sort of grew out of a number of other compositions, and since it is one of our most reliable mat t glazes, I pass it on as-is."

C O N E 7 M A T T G L A Z E # 1 1 8 5

(Oxidation or Reduction)

Cornwall Stone . . . . . . . . . . . . . . . . . . . . . . . . 25% Wollastonite . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Kingman Feldspar . . . . . . . . . . . . . . . . . . . . . 13 Colemanite . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Nepheline Syenite . . . . . . . . . . . . . . . . . . . . . . I0 Spodumene . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Talc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Dolomite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Kaolin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Bentonite . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

100%

The clay body for the 1 6 ~ inch coil-built bottle that is in the Smithsonian Institution collection is as follows:

C L A Y BODY EB-77 (Cone 6)

Bonding Clay (Cedar Heights) . . . . . . . 75 parts Redar t Clay (Cedar Heights) . . . . . . . . . 25 Bentonite . . . . . . . . . . . . . . . . . . . . . . . . . 2 4-mesh grog (made from crushed buff

building brick) . . . . . . . . . . . . . . . . . 40 Granular Manganese (40-60 m e s h ) . . . 2 0

Depending on the temperature, the granular manganese melts out, spreading over the surface to resenable a dark brown glaze.

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Spouted pot (above) was made [tom a body composed o[ 75% red earthenware clay and 25% bu[[ stoneware clay and [ired to Cone 7. Eight inches tall; a line rich red-brown color; unglazed.

Slab-built vase (le[t) is 19 inches high, glazed with a green matt and [ired to Cone 7.

October 1968 17

Stacking the Kiln by ROBERT F. NOLL

R O B E R T N O L L is Ceramics Techni- cian at San Jose State College, San lose, California. The following material about stacking the kiln is part of the instruction he gives to stu.dent assistants in the Ceramics Laboratory.

THE MOST IMPORTANT part of stacking is the kiln. Prepare to stack by check- ing to see that all switches and/or valves are off. Then check the condition of the kiln. I f there are any glaze drippings on the wall or floor, gently chip them off without damag- ing the kiln more than necessary. If the kiln is electric, check the elements to make sure they aren't touching each other or that they aren't contamina- ted with glaze drippings or other foreign material. If the kiln is fired with gas or solid fuel, check the fire- boxes also to clean out glaze drippings, pieces of pots, and radiants. The pilot flame needs an obstruction about an inch and a half in front of it to break it up, but neither the pilot nor the main burner orifices should be ob- structed.

The second most important part of stacking is the preparation of the pyrometric cones. Prepare the cone pads far enough ahead of use so that they have time to get completely dry. If you wedge the cone-pad clay with expanded mica, insulating-brick dust, or coarse grog, it will dry faster and shrink less. Poking holes in the pad with a small nail will allow it to dry faster also.

In our Lab we've been firing bisque to Cone 08, low-fire glaze to Cone 05, and high-fire glaze to Cone 7. In order to cut down on confusion, we've been putting Cones 08 and 07 in red clay pads; Cones 06, 05, and 04 in red clay pads; and Cones 6, 7, and 8 in buff clay pads. Please remember that there are sixteen cones difference between Cone 08 and Cone 8; twelve cones difference between Cone 06 and Cone 6. Know what cone number you want! Also, remember that cones don't measure temperature; they measure heat-work.

Set the cones in the pad so they

18 Ceramics Monthly

will bend toward the number, and bend toward the earlier maturing cones. The manufacturer recommends an angle of 82 ° from the horizontal for the most accurate reading. How- ever, we like an angle of 65 ° . This doesn't give us as accurate a reading, but it does give us a longer time inter- val between cones so that we may adjust the heat if necessary.

Decide what cones you want and where you want to use them in the kiln before you begin stacking. You'll have to leave space for the cone pads, space for the shelf or brick you set them on, and empty space where the cones can bend. It 's very discouraging to discover an otherwise-perfect pot with the tip of a cone embedded in the glaze. It 's also frustrating to have a cone bend part way and lean against the side of the kiln.

Leave viewing space between the cone-pad and peep-hole. You'll get the most information from your cones if you set them as far from the peep- hole as is practicable. They are harder to see back amongst the pots, but you want to know what's happening there instead of near the cold air that leaks in at the peep-hole.

I f the peep-hole is very narrow, you might want to place the cones in line with the hole, the earliest maturing one towards the hole. Tha t way you'll see only one cone at a time, but all in turn.

Before stacking, blow through the peep-hole to get the dust out. You can inspect the positioning of cones after stacking by burning a piece of paper near them and closing the door completely. You can do the same with a candle or flashlight, but it gets expensive if you forget to remove the flashlight before firing! You might want to draw a sketch of what you see in each peep-hole so you won't forget by the time it gets hot enough to see. I f someone helps you finish the firing, he can tell from your labeled sketch what to look for.

Your two aims in stacking comple- ment each other. You want to get maximum efficiency from your space,

and the most even distribution possible from the heat. A kiln that is 20-30% empty is very hard to heat evenly. Most ceramists like to save the highest part of the kiln for the tallest projects, but if you have a top- loader, it would be easier on your back to put the tallest in first. If you have several levels that use 1- or 2- inch posts, you might want to alter- nate them with levels that require 6- or 8-inch posts. For even heat, you also need extra space on all sides of the complete stack. You need at least one inch in an electric kiln, and up to nine inches in an open-flame gas kiln. Bisque and low-fire glaze pieces should be protected from the flash of direct flame. In the lower part of the kiln, near the firebox, I think the projects should be stacked within the area of the shelf supports. You can also get more even heat by stagger- ing shelves so two aren't side-by-side forming the same level.

The simplest sequence for stacking is to set the supports in place; set the projects in place; then lower the shelf onto the supports. The easiest way to balance a shelf is on three supports; however, if the shelf is over 21" long it should be supported by at least six posts. I t probably will balance on three of those six, so you'll need to check which posts need additional height, remove the shelf, put a pea-size ball of soft clay on each of those three posts, and lower the shelf again onto the posts. (A formula for shelf clay is 75% fireclay and 25% high-fire grog.)

The shelves must be lowered straight down onto the supports. I f a post is tipped after the shelf has touched it, the shelf will not balance properly and may crack during firing. If the post is tipped but stable before touched, and doesn't move when the shelf comes to rest on it, it will give adequate support.

To give effective support, each post must be directly above all the ones below it. I f you skip a level, or have a short post, there is no support from that point up. If you wish, you

Continued on Page 38

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Slab Wrapping and Wheel Throwing by ,JOEL E. EDWARDS

THE TECHNIQUES DEMONSTRATED in the September issue ("Wrapped Slab Pots") featured a thrown vase base with one section added and either wrapped and paddled or wrapped and thrown. A continuation of this technique can include the use of a cylinder of sinlple but basic proportions. Such a slender form can

take on added dimension and a more organic feeling by both wrapping and throwing two different sections.

After a slender cylinder is thrown and permitted to become leather hard, a slab is rolled about three-eighths of an inch thick and about twice as long as the circumference of the top opening. It is then cut as an elongated triangle and the whole folded onto the left or right forearm as shown in photos 2 and 3. In this way one continuous piece can be applied with ease.

The upper rim of the cylinder is serrated and dampened and the slab is slowly wrapped around on itself, beginning with the widest end of the triangle. As this is applied, the bottom edge of the slab piece is gently pinched onto the cylinder rim. As the clay is coiled around on itself, light paddling flattens the layers together. Be sure no air pockets are permitted to remain underneath the layers. After the pointed end of the triangle is secure, several good stiff swats with the paddle along the bottom edging will spread out

October 1968 19

t ,2 L~ A

the slab clay and secure the attachment. The upper edge of the slab piece should then be gently squeezed outward and the whole piece set aside to harden to the leather stage.

The second addition is also a rolled slab whose length is a bit more than the inside circumference of the current top edge. The thickness should be at least a half inch, to allow for pulling up during throwing.

After serrating and dampening the inside rim, this section is pressed into place with the outside overlap seal going in a clockwise direction toward you (counter to the usual turning of the wheel). The piece is cen- tered on the wheel and secured with keys, if needed, and the added slab is pulled up in the normal throwing manner until the desired shape is achieved.

Again it is urged that you keep in mind the visual, organic whole--the outline and the growth of the form. The upper portion should actually impart the feeling of evolving from the base with the center wrapped slab offering visual hesitation. This might be described as a knobbed appearance such as a cut limb of a tree.

In the photograph of three completed pots you will note the slight variations achieved with bases of different heights and widths, bulblike tops or straighter- walled upper sections, and three different glaze treat- ments.

One could repeat the question posed in the previous article: Why go to all the trouble of wrapping and attaching and then throwing, when you can just add on

20 Ceramics Monthly

those sections you wish without all the bother? In reply: The sections rarely achieve the feeling of growth. If one merely wraps the middle of a tall cylinder with a slab of clay, he just adds thickness without achieving organic continuity. As in all creative work, though, it is the individual esthetic that governs the undertaking.

1. A clay slab is rolled out to a thickness of ~ - inch and cut into a long, pointed triangular shape.

2. For ease in attaching the slab, it is /olded and supported along the arm.

3. Starting with the widest end, the bottom edge o[ the slab is attached to the top o[ a leather-hard cylinder.

4. The slab is coiled around and pounded on with a paddle to attach it securely.

5. Another slab is rolled out and, added to the inside of the [irst addition, and attdched.

6. The vase is secured to the wheel head, and the second slab addition is thrown in the usual manner.

Page 19: Three vases show slight variations o[ shape, height, and glaze treatment.

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! Oc tober 1968 21

Characteristics of the Craft Market by NORBERT N. NELSON

CRAFT GOODS are, by definition, limited production goods. In essence, this means that there are no expensive tools or capital equipment needed to produce a single item. Certainly the equipment of a pottery can easily run into thousands of dollars and can be used only to produce a given type of pottery. By extensive tooling which demands high levels of production, we mean, inore exactly, a single tool that will produce only a given item.

For example, if one decides to make an injection molded plastic doll, the mold alone might cost $20,000. It can be used only to produce that doll. If the manufacturer 's tool amortization on each unit is 50c, then he must produce 40,000 dolls before the tool is paid for and must therefore use mass marketing techniques to sell them.

In the crafts such problems do not exist. The cost of specific tools, if any, can be amortized over short runs. The reason that the doll manufacturer in- vests in expensive molds is to keep prices down. He expects that, by making a product more cheaply through heavy tooling, he can achieve a better price ultimately, and therefore higher profits through volume. I f he fails to achieve a very high level of volume, his cost per piece produced will be exorbitant and he will lose heavily.

I t is conversely true as a general rule that goods made with few or simple tools will not be as efficiently produced, and that the prices will be higher per unit made, even if volume greatly exceeds expectations. The product, then, must have some qualities which will justify that higher price to the buyer.

We can cite, as the first characteristic of the craft market, that it is a "limited market." The term "limited market" should discourage no craft producer. Don' t con- fuse "limited" with "small." As a nation, the United States alone (and your market is becoming less and less bounded by the U.S.) will shortly reach a population of two hundred million people. If a craftsman could reach only 1/100th of 1% of this national market and sell twenty dollars at wholesale each year to each person in this segment, his business would be a very substantial $400,000 per year! And we are not considering markets of 1/100th of 1%, but perhaps, even now, a potential buying public of anywhere from 10-20%. Each year this market grows. I t is obvious that limited markets for the limited producer are anything but small. The problem is to reach them and exploit them efficiently. Fortunately, it is far easier and less expensive for you than for the mass producer.

We next come to the consideration of the type of goods to be created and sold to this specialized market. Generally speaking, goods which are essential to the basic needs of many people sell in direct proportion to the universaIity and urgency of the need. Where such needs exist widely, production means to satisfy them develop on a mass production scale. I t is safe to say that craft goods rarely satisfy a functional demand today. The craftsman is dedicated to producing and selling either non-utilitarian goods or goods bought for

22 Ceramics Monthly

non-utilitarian reasons. For example, nobody actually needs a flower vase to keep flowers. In many parts of the world where flowers are loved and used as a prime object of home decoration, they are shown in the home in tin cans or old bottles. It is therefore custom that makes a woman buy a five dollar glass vase in our society. Similarly perhaps, it is the esthetic need, and a need for status which is no less valid than a utilitarian need, that the craftsman satisfies in selling her a handsome piece of blown glass for $50. Similarly, whereas a cup is a necessity in the American home, a $2 cup is not[ A functionally adequate cup can be purchased for fifteen or twenty-five cents. Thus, any cup over that price must justify itself on the basis of other than utilitarian qualifications.

The craftsman must concern himself with these secondary, generally esthetic qualifications, and succeed or fail on the basis of his success in appealing to these secondary motivations. He can never, however, fail to recognize and meet the functional demands which will be made upon his product if he is making a product which suggests that it is functional. A $2 cup from which the customer cannot drink comfortably will not sell, however unique it may be.

We can summarize by stating that the craftsman generally does not produce goods because they primarily fill a widespread functional need. The entire productive history of mankind is an account of bow man continues to develop new and better ways to fill his material needs with less and less work. Initially, one might think that craft production was flying in the face of an historical progression, but its renaissance is perhaps due to the fact that sufficient leisure has been developed to allow for a productive process which can bring pleasure, rather than greater function, into our lives.

We are, then, beginning to define an idea of the place of the craft piece in the American market. I t is not basically utilitarian in most instances. I t functions, if successful, as a basic and increasingly needed device for establishing individuality and status. I t would be unfair to say that it stopped there. The craftsman, because his risks are smaller than those of the manufacturer, can innovate and bring the new and better design to the fore. In fact he must, because unless his items are distinctive, they will not be accepted. With an increasing flow of foreign goods made in less developed societies coming into the States, the distinction of handcraft alone is no longer enough. Fortunately, there are many things which cannot be efficiently accomplished by machines and many techniques which remain peculiar to the individually produced item, and an educated public is becoming more aware of the difference and more responsive to good design.

This article is based on material [rom the new book, "Selling Your Cra[ts," by Norbert N. Nelson, published by the Reinhold Publishing Company.

Ceramic Screen Dividers by ARTHUR B. ADAIR

THERE IS A TRADITION at Rockford College for art stu-

dents to create a work of art to be retained permanently

as part of the College collection. Several years ago, when

the new student union was completed, a group of five

students asked if they might design a ceramic screen to

function as a room divider for the snack bar area. The

area to be covered by the screen was twenty feet long

and eight feet high; the screen was to be placed between

rather massive brick piers which divided the room in

half. Each of the students submitted a design for the

screen and then acted as a juror, along with some faculty

members and administrators, in the final selection of the

design. It was decided to incorporate several of the

ideas from the five different designs, making each stu-

dent responsible for the design and execution of various elements of the screen.

To support the hanging ceramic units, a Uni-Strut

frame (a metal U-shaped channel unit) was used. The

screen itself was made from 480 geometric elements,

strung together by metal rings. The individual ceramic

pieces were made in various shapes that would interlock

in such a fashion as to create a varied pattern over the

surface of the divider, thus eliminating the possibility of

a rigid set repeat of the design. Each piece was textured

by indenting the surface of the clay with various tools.

The stoneware body was varied in color by the addition

of coloring oxides and body stains, producing a range of

light reds to rather dark browns. The tiles were fired un-

glazed in an oxidizing atmosphere to Cone 3. The circular

elements at either end of the screen are a modification

of the school symbol. Because of the weight of these

elements, they were made to be held by the Uni-Strut channel rather than by the metal rings.

One of the students was made responsible for the

design and execution of the planters and trays to be

used at either side of the screen. The trays were made

to prevent water from leaking to the floor from the

planters and were elevated from the floor on short legs

to facilitate cleaning. Upon completion of the screen, we

discovered that it added immeasurably to the interior

design of the room. It provided the visual barrier that

was needed in a rather large, ungainly room without dividing it into two separate rooms. "I t does keep this

place from looking quite so much like a bus stop," one professor remarked. ( C o n t i n u e d . . . )

Nearly 500 geometric elements are used to make the

ceramic screen designed as a room divider [or the student union building at Rockford College.

Circular motifs at either end of the screen represent a modification of the school symbol. Because of their weight, they are positioned in the channels o[ the Uni-Strut frame.

October 1968 23

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THE. OUTDOOR SCREEN was designed for a deck that opens off our dining room and sun room. After doing some remodel ing and install ing a sliding glass door to increase the visual size of the sun room, we discovered that we saw a bit too nmch of our neighbor 's back porch. The screen was designed, therefore, to act as a par t ia l sight barr ier as well as to give a finish to the end of an open deck. As there was a ra ther nice garden enclosed by a willow fence beyond the deck, I did not want the screen to be so dense as to cut off the view of this garden.

Several years ago a book was published by Graphis called The Sun in Art. I t was this publ icat ion that stimulated the idea of using the sun as a mot i f for this ceramic screen. I began by making discs of clay out of a coarsely-grogged red-burning clay. Original ly I had thought that I would use all twenty-four discs of clay as various sun faces. However , af ter complet ing twelve faces, I decided on using the other twelve discs as abstract symbols of the sun. Each disc was designed spontaneously without any pre-p lanned design. Wi thout d rawing from

24 Ceramics Monthly

any specific design source, each sun face seemed to assume a personali ty of its own, calling to mind a Roman Sun, a Hop i Sun, a Sicilian Sun, an Ind ian Sun, a Picasso Sun, etc. Various tools were used to press into the damp clay surface to provide various textures and patterns. Some of these to:)ls included Ind ian blocks used for fabric printing, loosely woven fabrics, large wooden type faces. and a K o d a k Carousel slide cartridge. In addi t ion to indent ing and scratching the surface of the clav for decorat ion, pieces of clay were appl iqued to the surface. Clay petals were appl ied for one sun face and, in another case, clay squeezed through a ricer created an aura for one of the symbolic sun discs. Several of the discs were pierced and the scraps remaining from the piercing were appl ied to another disc.

The outdoor screen, like the Rockford College screen. was l inked together by metal rings. In this case black metal chain links were used. T h e frame to suppor t the screen was an extension of the a l ready existing 2 x 4 and 4. x 4. porch rai l ing painted black. Screw eyes fixed

Outdoor serccu ([ar le[t) giccs a decorative e/[cet a~,d also serz'es as a partial sight barrier between porch area and the neighboring yard.

Screen was constructed o[ 24 dise~ o[ clay, hall o[ them with ~'ariou.~ .~un laces and the other hall decorated with abstract ~ymbols o[ the sun.

to tile frame support the hanging discs. The variation of color in the suns is due to firing unglazed red stoneware clay in a heavily reduced atmosphere. Various firing for different discs, ranging from Cone 7 to Cone 10, produced variations of light reds to dark red-brown discs.

Some concern was expressed over the durability of an outdoor ceramic screen. Shortly after the screen was installed, we had a severe thunderstorm with winds up to 85 mph and hail. As trees came crashing down throughout the neighborhood, the screen swayed rather placidly to and fro, weathering the storm without any damage whatsoever. A R T H U R A D A I R , Pro[essor o[ Art at Rock[ord College, Rgck[ord, Ill., completed his undergraduate work under Laura Andreson at U.C.L.A. Further ceramic stud), was undertaken at the Graduate level at Mills College under F. Carlton Bali. ~Ir. Adair has recently returned to teaching ceramics at Rock[ord College, a[ter heading the design section o[ the Art Department at Long Beach State College in Cali[ornia.

October 1968 25

A Sense of Purpose by HELEN MASON

Abou,': When the pots arc taken hot [rom the bonfire, they are rubbed with chunks o[ resin [rom the kauri tree.

Below: Working in the Fijian village o[ Nasama, potter Amalini finishes o[[ a large bowl with the paddle.

26 Ceramics Monthly

IN OUR CIVILIZED WESTERN SOCIETY the people who make pots by handicraft methods seem to be those in- dividuals who are looking for warmer, more human

values than are to be found in the usual daily rounds of

suburbia. Whether life permits them to be fully com- mitted, or whether they can spend just a few hours

each week, the making of pottery gives these people a satisfaction which enriches their lives. Whether they

augment their income, or enhance their environment

with the pieces they make, pottery making seems to give

them a sense of purpose that is lacking in the lives of so many civilized people.

But this making of pots is a conscious choice. I was,

therefore, anxious to find out what it might be like to be among traditional potters in a more primitive society'. In

September of 1965 I had been a member of a museum

party observing Fiji Island women potters making cooking pots by the ancient stone-age method of beating out

slabs of clay with wooden paddles and stone anvils. Since I knew the formality of village life, I did not dare to

follow my" natural instinct and sit down beside the

potters to try my own hand. A year later, however, I was able to return to Fiji and rent an empty native

thatched hut in a nearby village in the hope that some-

how I might be able to gain acceptance by the potters.

The village in which I was living had a tradition of making baskets (each village had its own particular craft,

and the women were taught the craft of the village into which they married) but, fortunately, Litia Kubukawa,

who was looking after me, said that her mother came from a potters' village. In order to make friends and

thereby get some help with my problem, I gave a tea

party for all of the women I had met, buying a cake at the Chinese bakery and spreading the mat on the

plaited bamboo floor for my guests to sit around. I t was hard going for a while, both for them and

for me, but by means of photographs and books I was able to make them understand that I was genuinely

interested--not in teaching them anything, but in wanting

to work with the potters. Finally, the guests left me and had a discussion as they sat together under a tree. Litia came back to me after half an hour and reported that she was to take me to the neighboring potters' village

of Nasama the next morning. As it happened, it was not Litia who came for me

next morning, but Mosese, her husband, and I had to go through the whole performance again at the village of Nasama, sitting on the floor drinking yaqona (a stim-

ulating but not intoxicating drink) while the men decided whether I was acceptable. Finally, they did accept me and I was told to come back next morning when I would have my first lesson with Amalini Volo Volo.

This time there were no formalities. The minute I arrived I was put to work wedging sand into the red, sludgy clay on an old sack, using my bare feet. As I

gained in confidence, I was given more difficult work to do.

The making of a dari (a large bowl) is typical of the Fijian pottery techniques. I t is started by rolling out a

cylinder of stiff clay and throwing it sharply onto the mat several times until it has assumed a flat disc shape.

This disc is balanced in the cupped left hand while the

right punches into it with the anvil stone. The clay shape is turned until the stone has hollowed round the

entire circle and formed a semi-spherical bowl. As the

potter sits on the mat, the rough bowl is placed between the knees and gently patted out with a paddle held in

the left hand and the anvil stone in the right. The

roughly worked shape is set upside down in the sun

for about an hour to stiffen, then it is shaped with paddle and stone until the walls are thin and even. Thickness of the wall is judged not only by feel but

also by the sound of the paddle on the clay. Great care

is taken to get the rim firm and even, and this rim is

decorated by rolling it with the serrated edge of a shell. When the pots are dry they are fired a few at a time

in a bonfire. The raw pots are placed on a bed of

coconut husks and any burnable materials available piled over them and ignited. After about twenty minutes in

the bonfire, the very hot pots are fished out with a stick and rubbed with chunks of resin from the Fijian

kauri tree. Of course, the low-fired pots are fragile and easily broken, but they are excellent for the purposes for which they are used.

I was greatly impressed with the degree of craftsmanship that went into the making of each pot and the

relaxed and rhythmical method of working, while the hens scratched nearby, pigs rooted, children played and

fought, women gossiped or got on with their work, and Amalini's husband cooked the midday meal of tapioca

roots and mussels in the nearby cookhouse because his

wife was busy with me. I t all seemed natural and peace- ful, with time to make friends and enjoy good company. Amalini herself was a true craftswoman, vigorous and

deft, with a heartwarming cheery grin that overcame all difficulties. I t was a wonderful work experience with her. She could not read or write or speak English, but she was the best teacher I have ever had.

At a recent summer school session with a group of

17 women, I tried out some of the things that Amalini

had taught me. We started off with hard clay and few facilities, but before very long everyone had managed to overcome the difficulties. I soon was amazed to see

large, rich coiled pots emerging, and these civilized

women sitting on the floor beating out pots with wooden

paddles cajoled from nearby builders and anvil stones carefully selected from the yard outside. I t was amazing

how possessive we soon became over our favorite stones!

We fired the pots in bonfires and, by the third attempt,

were beginning to discover the finer points of firing even the large pots. There is no mystique to these things

and the general principles are all very simple. But the

degree of craftsmanship is not. This can only develop with long, patient work and a willingness to learn.

In the age of leisure that is on its way, when man finally has learned to master the machine and the system,

there should be time to perfect our skills in the things

we enjoy doing. There should be time also to develop

our ability to work and live together constructively. Per-

haps the comradeship that develops among potters is the sign of a new family grouping where common interests surmount the barriers of race, creed, or sex. The

Fijians judge a person according to how much love he

has in his heart. Maybe this is the best criterion of all. In a letter to the author, Michael Cardew said:

"What a lot of things these primitive people can give;

they don't even know they are giving sometimes, and

often imagine that everything worth knowing must come from us! All the more urgent reason why some of us

should quickly set about learning what we can from

them--technique and spirit--before it is too late, i.e., before they have all turned themselves into replicas of

ourselves. This they naturally want to do without realizing what big losses they may sustain in the process."

H E L E N M A S O N is editor o[ the magazine "'New Zealand Potter" and author o[ "Ten Years o[ Pottery in New Zea- land." Mrs. Mason has writ- ten, "'It seems to me that the vitality o[ the pottery movement in New Zealand is due to a certain combination o[ [dctors: good leaders, artisti- cally, inspirationally and tech-

. . . . ',~ ...... nically, who have been prepared to share their discoveries; good climate, in a country just ready to find its own culture; and good people, who want and enjoy the opportunity to live more purpose/ully.'" The author is pictured with Litia and "'Young Cromwell" outside her thatched hut at Voli Voli, Fiji.

October 1968 27

Pottery in the Junior High School ])v ~'IORRIS TAFT THOMAS

TIlE JUNIOR HIGH SCHOOl. program serves as a transi- tional organization between the e lementary and the senior high school. Because of its flexibility, it is well suited to meet ing the individual needs of its students. The junior high school p rogram interests students at a period which is general ly regarded as critical in their physical, emotional and menta l growth. Some notable assets of the junior high school p rogram are: (1) it tends to keep children in school longer: (2) it gives them an enriched educat ional offering: and (3) it offers them an oppor tuni ty to explore a larger number of areas of human endeavor. Even though the junio," high school's object ive is not to develop an artist, special at tention is given at this stage to the talented student, who is carefully watched and encouraged to continue with his t, 'ain- ing in the senior high school. Some areas of a,'t are rather difficult to teach junior high students, because of the students" l imited experiences and their eagerness to znove rapidly to new activities. However. we find that pottery is very popular with them becat,se of their in- creased desire to express themselves by vsing all kinds of skills.

When i int roduced ceramics as a unit to a group of eager ninth graders, we began by discussing contributions

made by other cultures and countries, such as Japan. India, Peru, ED~pt, Africa, Mexico, and our t~wn . \meri- can Indians. Several films were shown demon., trating the coil, slab, pinch and potter 's wheel methods and techniques. Each student was assigned to do addi t ional research involving at least one culture discussed earl ier in class. While the interest was still high, [ took the class on a field trip, the objective of which was to keep in close contact with nature. After the field trip, each student discussed what impressed him most about nature. what he had seen and what relation it might have toward pottery. Several students saw leaves as dishes and t,avs. Some thought that flowers ,night become bud vases. Still others saw large rocks as cookie jars and bowls. After the discussion, each student was assigned to bring several sketches of subjects which interested him most. keepinv in mind different methods and techniques of using clay as shown in the films. At our next meeting, students discussed their designs with great enttntsiasm and were ready to start their first ceramic project.

l ,eaf-design projects are easy to make and, ~.vllen conlpleted, make interesting gifts. For our first project. a tray using the slab method, the class went outside to collect leaves. Solne of the leaves selected were elephant ears, fig leaves, mulberry, and sycamore. Freshly-collected leaves were allowed to dry several days before bein~ used, and nledium-weight books were placed on top of the leaves so they would dry flat and evenh'. Fwsh leaves have a tendency to wither and usually last for only one class per iod; leaves which are allowed to dry can be used continuously without fear of withering or cracking while in use. (Note : caution shoukl be used in handl ing leaves because the milky sap at the stem base t~a\ cause a rash to sensitive skin. If it does cotue in

A slab o[ clay is rolled out, then [irmly pressed on a piece of bark for texture and shape.

28 Ceramics Monthh"

A can u' lapp~d a'ith pap, J .,,t;',., a, a . t . / d a~,~u.d z*'hich tit.' slabs are [ormtd into a ~'ase.

contact with skin, wash the area with soap and water.)

Clay was properly wedged, placed between guide sticks, then rolled out with a rolling pin. A leaf was

placed on top of the slab and pressed firmly in until the leaf texture and shape were embedded into the clay.

With the leaf still in place, a fettling knife was used to

cut excess clay from around the design. The leaf was

then removed and stored for future use. Edges of the

project were carefully turned upward to the desired height and small wedges of clay were spaced around the

walls to hold them in place until the clay became leather

hard. Any changes or corrections must be made while the clay is leather hard; this will lessen the chance of breakage

because younger students are usually a little careless with bone-dry projects. For added protection against breakage.

all projects were bisque fired before the}, were glazed. The bark vase was an interesting project. It was

started by rolling a slab approximately one-third inch

thick. The slab was cut into strips of 9" x 12" for a

medium size vase. The freshly-cut slab was placed on

top of a piece of bark and pressed firmly until the bark texture was transferred to the clay. A plastic bottle

wrapped in newspaper served as a mold until the clay became sufficiently stiff. After removing the bottle anti newspaper, the vase was trimmed as desired.

After our projects were completed, they were placed

on exhibit, so that others could share our interesting experience of making potter}, with materials from nature.

M O R R I S T A F T T H O M A S received his degree in art

education from Southern University, Baton Rouge,

Louisiana, where he also has done post graduate work

toward his master's degree. Currently, Mr. Thomas is

an art instructor at ]ones Street Junior High School. Alexandria, Louisiana.

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Weed tray was draped ocer a rock: ~'a~e was made from textured slabs; cover o[ ]ar was thrown.

Your Crafts by N o r b e r f N. Nelson

In a concise, step-by-step presentation, the book leads you through the actual stages necessary to sel l successfully what you produce. Such basic topics as the econ~mlc nature of the craft market are discussed clearly and in detail, before proceeding to the how- to-do-it phases of marketing.

. . . . . . . . You are shown how and why you must prepare a line of products: you will find out how to price your wares. The sales equipment you will need to sell - - or equip others to sell - - is outlined in detail and the establishment of a sales plan and policy is covered fully.

Such diverse channels of sales as wholesale, retail, mail order, and speciality markets are covered with the advantages and disadvantages of each type of selling clearly set forth. Important concerns such as publicity, advertising, and legal concerns are related to other factors in marketing.

The simple how-and-why approach of the text is specifically geared to the marketing of limited production style products. For the beginner, it will be invaluable in enabling him to develop his own marketing plan on a logical, easy-to-comprehend base of facts. For the more advanced craftsman, i', will provide a broad marketing experience which will increase the business scope of his operation.

$5.95 per copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

We pay postage. Money.back guarantee.

CERAMICS MONTHLY Book Department 4175 North High St., Columbus, Ohio 43214

Please send me . . . . copies of SELLING YOUR CRAFTS at $5.95 each.

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October 1968 29

ORDER ANY OF THESE

CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes. Two complete books in one! Fundamental details on both CLAY and GLAZES make this book a "must" for every hobby-craftsman, student, teacher and potter. $7.50

DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Enciso. A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, human figures, etc. 170 pages. $2.25

ENAMELING ON METAL by Oppi Untracht . Step-by-step photos are used to describe fundamentals on through to newly developed experi- mental styles. This complete guide is a major contribution to enameling. $7.50

CREATIVE CLAY DESIGN by Ernst Rottger. A wonderful aid to those who are learning and those who are teaching others how to explore the creative possibilities of clay. $5.50

CERAMICS by Glenn C. Nelson. A new, revised and enlarged edition of a favorite title. An outstanding handbook for potters and teachers. 331 pages, hardcover. $7.50

CERAMIC SCULPTURE by John B. Kenny. Contains over 1000 photos and sketches covering all phases of the sculptor's art. A valuable aid for all craftsmen. $9.95

THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny. The "best seller" in the ceramic field! Step-by-step photo lessons cover all of the pottery-making techniques. Clays, glazes, firing, plaster, etc. 242 pages. $7.50 CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book on the subject, from choosing the proper clay to putt ing the final touches on a piece, all clearly explained. Ce- ramics at its best! $7.95

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

FREE BRUSH DESIGNING by Egbert and Barnet. The authors' exciting approach to painting and designing develops confidence in the new artist. Extremely well adapted to ceramic decoration. $3.95 STONEWARE AND PORCELAIN by Daniel Rhodes. Describes techniques and materials used in high-fire pottery. Includes sections on clay bodies, glazes, colors, textures and decoration. $7.50

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

CERAMIC GLAZES by Cullen W. Parmelee. This invaluable reference book completely covers glaze making. Includes formulas and batch recipes for glazes. 314 pages of technical information. $8.00

SELECT TITLES ON OUR MONEY-BACK GUARANTEE. WE PAY POSTAGE.

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

CERAMICS AND HOW TO DECORATE THEM by .loan B. Priolo. Mrs. Priolo gives detailed descriptions and illustrations of dozens of decorating techniques and shows how to use them. $6.95

THE TECHNIQUES OF PAINTED ATTIC POTTERY by Joseph Noble. This lavish book un- ravels the methods used by the famous Athenian potters and vase painters to produce the greatest pottery in ancient European art. Beautifully illustrated - - a wonderful gift. $17.50

MOSAIC TECHNIQUES by Mary Lou Stribling. This unique book gives a glimpse of the tremendous potential of mosaics as a medium for personal expression, and will stimulate the curiosity of beginner and professional craftsman alike. $6.95

CERAMIC SCULPTURE by Betty Davenport Ford. The author leads the reader to a high level of pro- fessionalism in the design and technique of an ancient craft. Animal, human, plant and abstract forms. $5.50

POTTERY: FORM AND EXPRESSION by Marguerite Wildenhain. A truly beautiful book! Magnificent pictures of the author at work and of ancient and contemporary pottery. An outstanding gift selection for potters. $9.95 POTTERY & CERAMIC SCULPTURE by Herbert M. Sanders. A new, thoroughly revised edition of Mr. Sanders' best seller, Ceramics Book. Completely up-dated with new material, including section on how to build a potter 's wheel. Excellent for beginners. $1.95

MAKING POTTERY WITHOUT A WHEEL by F. Carlton Ball and Janice Lovoos. This comprehensive and richly illustrated book covers every phase of hand- building and decorating clay pieces. No book has covered the subject of texture and form more effectively. $9.95

A POTTER'S BOOK by Bernard Leach. Now in its tenth American edition, this book is a must for every potter and student of ceramics! I t deals with Japanese raku, English slipware, stoneware, and Ori- ental porcelain. $8.75

STEP-BY-STEP CERAMICS by .|olyon Hofsted. In this complete in- trcduction to ceramics, the beginner is led through all of the basic clay forming and decorating processes by means of fully illustrated step-by-step instruction. There are special sections on the Potter's Wheel, Glazing, Firing a Kiln, Building Your Own Kiln, Dec- orating Techniques and Raku. $1.95

MAKING CERAMICS by Lis and Hans Lundkvist. This text demonstrates some of the simplest methods of handling and shaping clay. Con- tents include forming pieces by hand and with the potter's wheel, decorating with glazes, recipes for glazes, making plaster molds, casting, firing, construct- ing a wheel, and directions for building a raku kiln in the backyard. $4.50

SELLING YOUR CRAFTS by Norbert N. Nelson. In a concise, step-by-step presentation, this book leads you through the actual stages necessary to sell "successfully what you produce. Such diverse channels of sales as wholesale, retail, mail order and specialty markets are covered - - with the advantages and disadvantages of each type of selling. $5.95

HANIWA: THE CLAY SCULPTURE OF PROTOHISTORIC JAPAN by Fumio Miki. This outstanding book contains nearly 100 dramatic photographs of notable Haniwa masterpieces - - the clay figures that decorated graves of emperors and lords. The accomp.any- ing text is outstanding. Comes an a handsome slipcase and makes a wonderful gift. Was originally priced at $8.75 per copy. now $6.95

BERNARD LEACH: A POTTER'S WORK Introduction by J. P. Hodin. This latest book by Mr. Leach covers 55 years of his work from 1911 to 1966, showing photographs of his pots and sketches from his notebook that he feels are representative of each period, including raku, stoneware, slipware, salt-glaze ware, and enameled porcelain. $10.00

THE WORLD OF JAPANESE CERAMICS by Herbert Sanders. The first broad coverage in text and photos of the modern and historical ceramic techniques of .lapan[ This handsome book illustrates in detail the forming and decorating processes and the many unique tools used by the potters of Japan. Includes glaze formulas, glaze color charts, and American equivalents of Japanese glaze compositions. Has slipcase. $12.50

Order Form - - We Pay Postage BOOK DElIA|TMENT4175 North High St., Columbus, Ohio 43214

B hodes--Clay & Glazes $7.50 Encis~Design $2.2S

[ ] UnfrachtmEnamelln9 $7.50 [ ] Rottcjer~Creafive Clay $5.50 [ ] Nelson--Ceramlcs $7.50 [ ] Kenny--Sculpture $9.95 [~ Kenny--Pottery $7.50

Norton--Artist Potter $7.95 ~1 ~ Kenny--Design $9.95

Egbert--Brush $3.95

[ ] Rhodes~Stoneware $7.50 [ ] Ball & LovooslPottery $9.95 [ ] Kinney--Glass Craft $7.50 [ ] Leach--Potter's Book $8.75 [ ] Parmelee~lazes $8.00 [ ] Hofsted--Ceramlcs $1.95 [ ] HornunglDeslgns $2.00 [ ] Lundkvist [ ] PrlolomCeramlcs $6.95 ~Makincj Ceramics $4.50 [ ] Noble--Attlc Pottery $17.50 [ ] Nelson--Sellln9 Crafts $5.95 [ ] Striblincj--Mosalc $6.95 [ ] Miki--Haniwa $6,95 [ ] Ford--Sculpture $5.50 [ ] Leach--Potter's Work $10.00 [ ] Wildenhaln--PoHery $9.95 [] Sanders--Japanese $12.50 [ ] Sanders--Pottery $1.95

NAME ADDRESS CITY STATE ZIP

I enclose [] Check [ ] Money Order. [Ohio residents: add 4% Sales Tax)

Adventures with Liquid Enamels by KATHE BERL

I,IQUID ENAMEl, can be used com.uer- cially for spraying utensils and all sorts of other objects, but is not of too nmch interest for the art enamelist. Of course it can be used t o rather limited effects as the so-called "crackle," but this is not the acme of inspiration either! However, if one stops to analyze the basic qualities of this material, many new techniques come to mind.

Liquid enamel, whether sprayed, dipped, or painted on, makes an excellent basic coat, be it opaque or flux. Used as such, with regular .grinds of enamel over it, it behaves like any other basic coat - -no t crackle, just regnlar enamel. Furthermore, it has the added advantage that it will not ever fall off when fired in, even on the steepest surface. This can he a blessing. Applied to a fired-in coat of dry enamel, it will, with longer firing, separate more and more and develop designs of sorts by allowing the color of the coat under it to show in tears and "crackle." I f one liquid is applied on top of another, it will not separate, but give an even surface. When all these characteristics are played out against one other, the results are amazing!

Here are just a few of these results, and I am sure that other enamelists will discover many others. Let us start with the simplest one and, to make it clear and easy, think in terms of only two colors, black and white.

Dip the copper base in black liquid enamel (which, by the way, is called slush, or crackle, in any of the colors) ; how to do this was described in the May 1968 issue. It can be painted on in the following manner : Be sure the slush is mixed or stirred well, as the heax T particles have a tendency to settle on the bot tom of the container. Pour a small amount into a container and, with a brush, try to paint onto the copper with it in even strokes, meanwhile slanting the base from one side to the other slowly so that the enamel flows out evenly. I f the enamel is too thick, add some

water and pour the thinned-out amount back into the master container. Mix this well, and try again, until a consistency is reached that will give a thin coat that covers the copper shape. If the slush appears too thin, allow the container to stand open for some time and the excess water will evaporate and the sh,sh will thicken. Never drain the liquid off and discard it, as you will drain off and discard the binder in it.

D W this first coat thoroughly, then fire until gloss},. ( In case some of the enamel has run down and formed a heavier layer in some bottom areas, scrape this down before firing.) Re- peat the procedure if necessary until the "basic black" is perfect. Now over this fired-ln black apply a coat of white and wait until the enamel looks dull and dry. Don ' t force it to dry and do not place it on a warm surface, as this will make the layer of white too brittle for what we want to do. We are not firing this now!

Actually, we will treat this coated base as if it were scratch board. Take a sharp point, such as an etching needle, and scratch out line drawings - - t h i n lines, heavy lines, whole areas of various sizes--to your heart 's desire. These can be abstract or repre- sentational. You must constantly blow the excess white off and see the black design appear from under the white.

Black liquid enamel is brushed on the copper, allowed to dry, then fired. Whi te is applied over the black and a design scratched through to the background.

Fire until gloss)-, and be surprised! Even more stunning is the reverse effect with a white coat fired in and the design scratched out from a black layer over it. For a stunning effect, try a piece partly black on white, and partly white on black.

For another effect we acid liquid flux to our color scheme. When flux settles to the bottom of the master container, it gets quite hard, sn do not stir with a brush but with something more rigid, and stir well. Don't worry if the flux appears to be thin- just so it covers. I t fires out very brilliantly, extremely so, but needs only a short firing to do so. Be careful not to overfire, as it will burn off, leaving firescale. I f this does happen, cover it again with this flux and it will develop the usual orange-over- firescale color very nicely.

Take a copper base and, with a watercolor brush, paint on all of the areas of your design- flux and opaques, black and white, or what colors you want- just as you would with poster colors on board or paper. Always wait for a color to dry until another color is painted on next to it. Dry thoroughly and fire. Patch up if needed, or paint other colors over it, and you will get a relief effect.

This type of enamel can be used for very precise design, since, when dry, this enamel sgraffitos so easily.

The reverse effect o/ black on white is equally effective. Still another good combination is a piece partly black on white, and partly white on black.

October 1968 31

C E R A M A C T I V I T I E S people, places and things

WINOKUR WORK EXHIBITED Pottery by Paula and Robert Winokur

was featured in an exhibit at the Phila- delphia Art Alliance during May and June. The work exhibited included thrown forms, teapots and bottles, but the focal point was a series of slab-built boxes, some containing mirrors on the sides and others being monolithic shapes with small pro- tuberances along the top and intricate handles suggesting wrought iron work. Glazes ranged from light yellow-tans to

~ i i ~ ! ~ ~ ~ • i

dark speckled greens with yellow splashes on a strongly reduced brown clay. A series of pots made for cut flowers included both thrown and slab built forms with handles pulled from the lip up over the pot and back to the rim on the other side.

Discussing the pots in the show, Mr. Winokur said: "I like to make pottery shapes that come close to being sculpture, but use is a beautiful thing. There is something in our culture which abhors use, sees reality as a crutch, the unreal, puts a premium on the dream, the unreal, the fantasy. These have a use too but they lack substance. The feel of a pot in use is a personal and lasting means of communication." Pictured is a slab built weed box by Paula Winokur. I t is stoneware, green glaze on dark brown clay; it measures 18 inches high and 12V2 inches wide.

GLASS SEMINAR ANNOUNCED The Ninth Annual Seminar on Glass,

sponsored by the Coming Museum o[ Glass, will be held October 13-18, and will be principally concerned with glass history. Lecturers include Dr. Robert H. Brill, Raymond F. Errett, Dr. George B. Hares, Paul N. Perrot, Kenneth M. Wilson

(all from the Gorning Museum or Glass Works); Paul Gardner, curator of glass and ceramics at the Smithsonian Institu- tion; Andrew Oliver, Jr., assistant curator of Greek and Roman Art, Metropolitan Museum o[ Art; Mr. Lowell Innis, scholar in the study of Mid-Western Glass; lerome Strauss, collector; and Mrs. Paul Taylor, assistant to the curator of Hillwood, the collection of French and Russian art of Mrs. Merriweather Post. During the course of the seminars there will be ample time and opportunity for those attending to use the Museum's library and to consult with staff members. Session will be held at the Corning Glass Center.

BUTLER SHOW JUROR SELECTED The Butler Institute o[ American Art,

Youngstown, Ohio, has announced that Mr. Norman L. Rice, Dean of the College of Fine Arts, Carnegie-Mellon University, will act as judge of the 21st Annual Ohio Ceramic and Sculpture Show. The competition is open to present and former residents of Ohio, and includes work in ceramics, enamel, jewelry, and sculpture. The show is scheduled to open January 1, 1969, and be (~n view through Febru- ary 23.

BAY AREA EXHIBIT The Bay Area Arts & Cra/ts Guild's 12th

Annual Exhibit was held at the College o[ Notre Dame Art Studio, Belmont, Califor- nia from June 4-15. The exhibit included a total of 150 works submitted by 34 Guild members in the categories of ceramics, blown glass, jewelry, and other crafts.

Jurors for this year's show were Viola Frey, resident potter at the Cali[ornia College o[ Arts & Cra[ts, Oakland; and

Matt Kahn, Professor of Art at Stan[ord University. Awards in ceramics went to Bertha Baron, Burlingame, for a stoneware

plate; Flossie Moore, Palo Alto, for a slab pot; and Kiyo Yano, San Mateo, for a stoneware bottle (pictured). Honorable Mentions in ceramics went to Elizabeth Hell and Don Knudsen. Shirley Noll is in charge of publicity for the Guild.

CARBONDALE WORKSHOP Donald Reitz, ceramist and professor of

art at the University o[ Wisconsin, was one of four visiting artists who conducted workshops during a Crafts Festival at Southern lllinoi~ U,irersity. Carbondale,

: gi "ii .L::J

!

in April. Mr. Reitz is pictured as he demonstrated throwing and decorating at one of the workshop sessions. In addition to the demonstrations, the potter also exhibited some of his work in the school's Mitchell Gallery during the Festival, along with weaving, glass and jewelry made by the other visiting craftsmen.

CRAFTSMAN'S FAIR "Highland Highlights," newsletter of the

Southern Highland Handicra[t Guild, re- ports that over 80 craftsmen have signed up for booths at the fall Craftsman's Fair of the Southern Highlands, which will be held October 22-26 in the Auditorium at Gatlinburg, Tennessee. Attendance at the July fair in Asheville was reported to be at 19,083, slightly less than for the 1967 fair; however, sales of merchandise were substantially higher than for the 1967 fair. According to all statistics, the 1968 event was an overwhelming success. Robert W. Gray is Director of the organization; Garry Barker is Editor of the "Highlights."

FLORIDA CRAFTSMEN'S SHOW Members of the Florida Cra[tsmen will

hold their 18th annual exhibition at Stetson University, Deland, Florida, from November 9-27. According to ]anice G. Ring, show chairman, Juror will be Dorian Zachai; work is due October 21-24; the competition is open only to members of

32 Ceramics Monthly

Florida CraftsmezL Applications ~re avail- ahle from Charles Williams, Art Depart- ment, Stetson University, Deland.

NEW FACULTY MEMBERS

Eugene Friley, Chairman of the Ceramic Art Area, College of Art at The Ohio State University, has announced the addition of two new members to the faculty. Jay ]ensen did his undergraduate work at Hamlin University in St. Paul, Minnesota. and his graduate work at the University of Hawaii. where he was awarded an M.F.A. degree. Philip Gearheart has a B.A. degree from the University of Wichita and an M.F.A. in Ceramics from the Uni- versity of Indiana. Both men started their duties at Columbus at the beginning of the current Fall quarter. During the Sum- mer term, special guest teacher was Jap- anese potter Kenji Kato.

POTTERS IN THE KITCHEN

Greenwich House Potter)' in New York City will present an exhibition. "Potters in the Kitchen," featuring work by Margit Elsohn, Lilian Rather, Elaine Bohm, Ina Chapler, Bertha Goodman, Nancy Baldwin, Ann Buchsbaum, and Sally-Ann Endleman. The show is designed to appeal to the woman who is excited by gourmet cooking or one who simply wants to have interesting appointments in her kitchen. A country kitchen atmosphere will be maintain- ed where the visitor will be surrounded by unusual pieces of handmade pottery. In addition to mugs and cups, there will be collanders, teapots, coffeepots, dishes. ladies, clocks and casseroles. The show will start on October I I and run through October 28 at Greenwich House.

FARRELL TO ART INSTITUTE

Faculty appointments for the academic year 1968-69 were announced by the School of the Art Institute of Chicago. Dean Roger Gilmore emphasized the fact that eight of the twelve new teachers are being brought to Chicago from other parts of the country, thus further en- riching the city's expanding art scene. This school, which has 68 full-time faculty members and an enrollment of 700 full- time professional degree students, provides a four year Bachelor of Fine Arts Degree program and a two-year Master of Fine Arts program. Of interest to CM readers will be the appointment of Wil- liam Farrell, formerly of Purdue Univer- sit-y, and Kent Ipsen, formerly of Mankato State College, Minnesota. as Associate Pro- fessors. This will enable the school to expand its graduate-level opportunities in ceramics and to introduce a new design- crafts course in glassworking. Farrell has degrees from Indiana State College of Pennsylvania and Penn State. He also studied at Alfred University. Ipsen has degrees from the University of Wisconsin at Madison.

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

A SPECIAL ANNOUNCEMENT

The Chil ton Book Company has j u s t announced t h a t the i r new book by Daniel Rhodes, Ki lns : Design, Cons t ruc t ion and Fi r ing , will be ava i l ab le in abou t 90 days. Mr. Rhodes, as mos t readers of Ceramics Month ly know, is the a u t h o r of two h igh ly successful books in the Chil ton A r t and C r a f t series, S toneware and Porce la in and Clay & Glazes.

As soon as th is new book is ready, the Chi l ton Company will be ru sh ing copies to us for out" Book D e p a r t m e n t cus tomers . If you would like to rese rve a copy f rom this f i r s t sh ipment , we would sugges t t h a t you send in an order now. We will pay pos t age and sh ipp ing cha rg es on all o rders and, of course, the book will c a r ry our usual money-back gua ran t ee . The book is priced a t $10.00 pe r copy.

ADVANCE

ORDER

FORM

C E R A M I C S M O N T H L Y Book Department 4175 N. H i g h St . , Columbus, Ohio 43214

P lease send me, as soon as ava i l ab le , copies of Ki lns : Des ign , Cons t ru r t i on and F i r i n g by Daniel Rhodes

t(~, $10 per copy, postpaid . I enclose El check [] money order .

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City _ _ Sta t e . . . . . . Zip (Ohio res iden t s add 40e per copy sa les t ax . t

HAKING POTTERY without a wheel by F. Carlton Ball and Janice Lovoos

~ This comprehens ive and r i ch ly illus- , ~ ~ : ~lm t r a t e d book, pub l i shed by Reinhold,

~ ~ ' r . 7 ~ covers eve ry phase of h a n d - b u i l d i n g ~v ~ r A ~ a ' ~ i | k~ I f ~ l and deco ra t i ng clay pieces. No book h a s

~ ' A . ~ ~ ~ . ( ~ . ~ ~ , J ever covered the sub jec t of t e x t u r e an d [ ~ . ~ ' g ~ fo rm more effect ively.

~ ~ ~ : , ~ The t echn iques i l l u s t r a t ed in the book ~ ~ . ~ , ~ l ~ - ! :,l:~2ff=~m s t a r t w i th s imple p ro jec t s su i t ab le for ~ ~ ~ e l e m e n t a r y school ch i ld ren a n d p rog re s s ~ ~ d . ~ a ~ . ~ , ~ , to those of cons iderab le d i f f icu l ty . The ~ ' ~ : . ~ ~ ~ , i ] ~ P ~ au thor , w o r k i n g wi th tools usua l ly I ' ~ ~ ? ] ~ , J * ~ . ~ l found in the home, po in t s ou t t h a t no [ ~ l ~ W : l ~ l m i i ~ ] ~ ~ special workshop or s tudio is requ i red

~ F ~ : Jf ' )Y ] r~ l r ~ ) " to produce the b e a u t i f u l pieces of pot- ~ 7 ~ , ~ ~ 4 ~ . _ T ~ ~ ~ ' ~ t e r y - - a tab le in a k i tchen, g a r a g e or ~ ~ ~ ~ . back porch will do.

~ ~ ~ ' 1 ~ ~ 2 Potters at all levels of achievement ~ ~ : ~ y ~ . ~I r. will find this new book informative

. . . . . . . . . . . . . and inspirational. It is a book every teacher should have. Price : $9.95.

WE PAY POSTAGE n ~ n B B l n l m n m l n n ~ ~ ~ n ~ l ~

CERAMICS MONTHLY Book Deparlmeat ~ 4175 North High St., Columbus, Ohio 43214 II

Please send me .coples of MAKING POTTERY WITHOUT A WHEEL at $9.95 each. ', Name . . . .

Address . . . .

City State Zip Ohio residents add 40c per copy sales tax. I enclose [ ] Check [ ] Money Order

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October 1968 33

Potters • Sculptors • Teachers •

YOU cannot afford

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MOVING SOON? U.S. Post Offices will no longer forward magazines, even if they have your new address. Your magazines will be returned to the publisher at a charge of 10c each. If you move, please notify us at least 4 weeks in advance, giving both new and old addre~es, and send addressed portion of your mailing envelope to Ceramics Monthly, 4175 N. High St., Columbus Ohio 43214. (Don't forget to include your ZIP number on new. addre~.)

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34 Ceramics Monthly

ITINERARY Continued [tom Page I l

New," organized jointly by Interchurch Center and the Artist-Craftsmen of New York, includes work in all craft naedia and sculpture. For information, write: Bess Schuyler, 246 W. 16th St., New York.

OHIO, YOUNGSTOWN

January 1-February 23, 1969 The " ls t Annual Ohio Ceramic and Sculpture Show, sponsored by the Butler Institute, is open to present and former residents of Ohio and includes work in ceramics, enamel, jewelry, and sculpture in any medium. Juror : Norman L. Rice; Over $I,000 in Purchase Prizes; Entries due between November 1 and December 15, 1968. For information and entry blanks, write: Butler Institute of American Art. 524 Wick Ave., Youngsto~vn 44502.

SOUTH CAROLINA, COI.UMBIA

October 21-26 The South Carolina State Fair Fine Arts Department Com- petition is open to residents of South Carolina. Ceramic categories include wheel- thrown work, hand-bu i l t pieces, decorative media, mosaics, enamel, and ceramic sculpture. Cash and ribbon awards. Premium lists and entry blanks are available from Mrs. Helen F. Mendel, Superintendent, Arts Department, 4525 Reamer Ave., Columbia 29206.

SPECIAL FOR HOBBYISTS

ALABAMA, MOBII.E

November 3 Annual Show and Coln- petition of the Azalea City Ceramic As- sociation will be held at Murphy High School. Show Chairman is Mrs. Hugh Story, 15 N. Georgia Ave., Mobile 36604.

FLORIDA, WINTER PARK

October 24-26 The Tenth Annual Cen- tral Florida Ceramic Show, sponsored by the Central Florida Ceramic Association, will be held at the Winter Park Mall. Write: Muriel Bucher, 270 W. Reading Way, Winter Park 32789.

ILLINOIS, CALUMET CITY October 12-13 "Ceramic Ideas for the

Home" is the theme of the Town and Country Association show to be held at American Legion Post 330.

MississiPPi, GULFPORT October 4-6 The Gulf South Ceramic

Show, the fifth annual show sponsored by the Coast Ceramic Club, will be held at the Edgewater Plaza, Hwy. 90 midway between Gulfport and Biloxi. Write: Harold Caudle, 907 E. Beach Blvd., Biloxi, Miss. 32530.

bus, will be held at the Strathmore School, Lloyd Road. For information, write: B. A. Figler, P. O. Box 22, Matawan 07747.

OHIO, CIIYAHOGA FAI,I.S

October 18-19 The 16th Annual Ce- ramic Hobby Show, sponsored by the Akron Mud Hens, will be held at the Falls-Akron Motel. Show Chairman is Mrs. Hannah V. Clay, 77 Mornlngside Dr., Akron, Ohio 44303.

OHIOj LEAVITTSBURG

October 12-13 "Ceramics Americana," the annual show and exhibit of Western Reserve Ceramists of Warren, Ohio, will be held at Johnson Community Center, Gil- mer Road. For information, contact: Mrs. Clark Gotshall, 1602 Henn-Hyde Rd. N.E., Warren, Ohio 44485.

WHERE TO GO

Because listings are subject to change. dates can be I,eri[ied by writing to the sponsoring groups or galleries.

AI.ABAM A, BIRMINGHAM

October 5 Shades Mountain Arts and Crafts Show features work by Southern artists; at Bluff Park Commnnity Center.

ARKANSAS, LITTLE ROCK

October 5-27 Second Annual Exhibition includes crafts by residents of Arkansas, Louisiana, Mississippi, Missouri, Okla- homa, Tennessee, and Texas. At the Ar- kansas Art Center.

ARKANSAS, WAR EAGLE

October 18-20 The 15th Annual Ozarks Arts and Crafts Fair; at War Eagle Mills Farm.

CALIFORNIAj OAKLAND

October 5-26 "New Perspectives in Black Art," ar t and craft work by Art West Associated North, Inc., at the Oakland Museum.

CALIFORNIA, PALOS VERDES

October 12-13 Sixth Annual Outdoor Fine Arts, Design, and Crafts Festival: at Northrup Nortronic Research Park, Palos Verdes Peninsula.

CALIFORNIA, SAN FRANCISCO

through October 6 Roman Mosaics from Tunisia, circulated by the Smithsonian In- stitution, includes mosaics, stone monu- ments, and ceramic pieces spanning eight centuries (146 B.C. to 698 A.D.).

NEW JERSEY, MATAWAN October 26-27 Third Annual Central

Jersey Ceramic Show, sponsored by Car- dinal Newman Council, Knights of Colum-

CALIFORNIAj SAN JOSE October 10-13 Regional Conference

sponsored by the Southwest Regional As- sembly, ACC; at San Jose State College.

C E R A M I C CLAYS

and

GLAZE M A T E R I A L S

"(rittit!/CERAMIC SUPPLY, ,NC

9016 DIPLOMACY ROW • DALLAS, TEXAS 7523. ¢ MElrose 1.0540

Gare Ceramic Supply Co., Inc. 165 Rosemont St. Haverhill, Mass. 01880

MOLDS IN STOCK THOUSANDS TO CHOOSE FROM

CENTRAL CERAMIC ART SUPPLY CO. 29W 555 Batavia Rd., Warrenville, III. 60SSS

[A Chicago suburb}

the LOCKERBIE Potter's Wheel ~ FINEST KICK WHEEL MADE

Used by colleges, schools and studio potters $175.00. Write for new circular to Parfex Co. -- 7812 Boulder Ave., Highlnnd, Calif. 92346

ANDERSON CERAMICS COMPANY, INC.

1950 S. McDuffie St. Anderson, South Carolina 29622

Complete Ceramic Supplies

CLAYS GLAZES

TOOLS KILNS

CALIFORNI.Aj SANTA BARBARA

through October 12 Ceramics by Otto and Gertrud Natzler;

October 13-November 9 Ceramics by Robert Arneson; at the Galeria del Sol.

CALIFOR NIA~ VENTURA

October 19-20 Animal Show and Sale by members of the Ventura Potters" Guild: at Knecht 's Gardens.

(~OLORADO, DENVER

October 19-November 17 "140 Years of Danish Glass," circulated by the Smith- sonian Inst i tut ion; at the Denver .Art Museum. (See Cover and page 5.)

CONNECTICUT, MANCH ESTER

October 25-27 Seventh Annual Arts and Crafts Festival, sponsored by the Man- chester Fine Arts Association and the Lions Club.

CONNECTICUT, NEW LONDON

October 6-27 Ceranfics by Dimitry Var- ley, at the Lyman Allyrl Museum, 100 Mohegan Avenue.

FLORIDA. PENSACOLA

October 5-6 The Sixth Annual Plaza Ferdinand Sidewalk Art Festival, sponsored by the Pensacola Art Center.

ILLINOIS, CHICAGO

October 5-November 17 "Art of the Korean Potter," at the Chlcag. Art Insti- tute.

INDIANA, FORT WAYNE

October 29-3l "Art for Sale," sponsored by the Women's Activities Council, offers original craft work; at the Fort Wayne Museum of Art.

IOWA, MASON CITY

October 6-November 6 The All-Iowa Crafts Exhibition and Fall Crafts Festival; at MaeNider Museum.

MARYLAND~ BALTIMORE

through October 6 Pre-Cohunbian Art; at the Museum of Art.

MASSACHUSETTS, LEVERETT

October 12-20 Fall Exhibit and Sale of the Leverett Craftsmen and Artists.

MICHIGAN, GRAND RAPIDS

through October 20 Third Biennial Michigan Artlst-Craftsmen Exhibition: at the Grand Rapids Art Museum.

NEw JERSEY, NEWARK

Continuing "Nymphs arid Fauns," a


OF SEATTLE

NOW! A Good Kiln Need Not Be

Expensive Save up to 37% using a few pleasant hours to f i t together one of our easy-to-assemble kiln kits. Fun to do ~ efficient to use. Step by step instructions for assembly and easy beautiful firing.

These Are Kilns Made By People Who Do Ceramics and

Know What ,4 Kiln Has To Do.

Commercial Kiln Kit, 24"x24"x27" deep . . . . . . . $195.00

Studio Kiln Kit, 18"x18"xl 8" deep . . . . . . . 99.50

Hobby Kiln Kit, 12"x12"x131/2 " deep . . . . . 62.50

Send for free detail sheets.

POTTERY by DOT Dept. CM

408 N.E. 72nd St. Seattle, Wash. 98115

O c t o b e r 1968 35

WHY SETTLE FOR LESS THAN

zjm,wo-z, zTE J QUALITY

Look No More For the Electric Kiln Buy You've Dreamed About:

Outstanding Features--Low Prices! A. Heavy steel frame painted inside and out. B. Transite used for outer shell. C. Firing chamber constructed of tongue and

groove fireback. This "Individual Brick" construction allows chamber to expand and contract without cracking brick replacement is a simple procedure.

D. Lid is held together using steel rod bolts.

Send /or Free Brochure showing many models. High in quality. For erery need.

W. D. B O R T M.., . / .d.u,q ~o. P. O. Box 3~ Fairfax. California 94930 ru~o.urx

~7B (38 pg) Enamel Supplies . . . . . . 25c I Costs refundable with coupon

(FREE te Schools and Institutions) • TEPPING STUDIO SUPPLY CO. l l

p r o f e s s i o n a l s t a f f

The In fe rmounfa in A r e a ' s Largest C e r a m i c Supply C e n t e r

Special attention to the needs of schools and institutions

Capi ta l Ceramics, Dept. CM 2174 S. Main St.. Salt Lake City. Utah 84115

IELLLL

Send for

::m ~ ..... ~ l l I II Y . . . . lay. Eliminate drudgery by ,oil,lied \ "~ ' I HI--' save time for creative usert. ~,-' " c t :o r [ .111J iLl,trusTiest1

I T I N E R A R Y

Continued [ram Page 35

set of twelve glass figures designed by Pablo Picasso; at the Newark Museum.

NEW MEXICO, ALBUQUERQUE Continuing Indian Pottery Exhibition,

a major show of Pueblo pottery, covers a time span of 1500 years and contains nearly 300 examples. At the University of New Mexico Museuul of Anthropology.

NEW YORK, BROOKLYN October 6 The Brooklyn Museum Com-

munity Fourth Outdoor Fence Show, which includes work in crafts, will be held at the parking lot of the Museum. Rain date is October 13.

NEW YORK, CORNING October 13-18 "Ninth Annual Seminar

on Glass," sponsored by the Corning Museum of Glass: at the Corning Glass Center.

through October 25 Glass by Edris Eckhardt; at the Corning Glass Center.

NEW YORK, NEW YORK October 11-28 Pottery by Margit

Elsohn, Lilian Rattier, Elaine Bohm, Ina Chapler, Bertha Goodman, Nancy Baldwin, Ann Buchsman, and Sally-Ann Endleman: "Potters in the Kitchen." At Greenwich House.

NEW Xt'ORK, NEW YORK through November 10 Jewelry byArline

Fisch and Ceralnics by James Leedy; at the Museum of Contemporary Crafts.

NEW YORK, NEW ~IrORK through January 19, 1969 Guatemalan

Exhibit features selected examples of Maya ceramics and other crafts presented on the opening of the 23rd Session of the Gen- eral Assembly. The United Nations. At the Metropolitan Museum of Art.

NORTH CAROLINA, RALEIGH October 12-November 3 "Craftsmen of

the City," Smithsonian Institution show; at North Carolina State University.

OHIO, CLEVE-LAND October 2-November 24 Art of the

Yfian Dynasty: Chinese Art under the Mongols; at the Cleveland Museum of Art.

OHIoj MASSILLON October 5-31 Ceramics and free-blown

glass by Miska Petersham, Kent State Uni- versity: at the Massiilon Museum.

OHIO, TOLEDO

October 20-November 17 The Second


Have you sent for our GLASS TECHNIQUES? # 4 - - - N a y . . . send stamped, self-addressed envelope. Are you doing DECOUPAGE FOR

GLASS? Have you seen our "TILTING T U M B L E R S " ?

Catalog: $1 postpaid within U.S.A. (Canada add $1)

KAY KINNEY- CONTOURED GLASS 725 Broadway, Laguna Beach, Calif. 92651

F R A N C O I S E C E R A M I C S DISTRIBUTOR FOR: Paragon Kilns; Duncan Glazes, Underglazes, B|sq-Wax and Molds; Ceramiohrome Glazes and Underglazes. IN STOCK: Large sele¢- tion of Aflanfic-Arnel-Ludwig Schmid.Holland and While Horse molds. Complete line of ceramic supplies. WHOLESALE AND RETAIL. 113 49fh St. Sou~n St. Petersburg, Fla. 33707

r C E R A M I C & S C U L P T U R E S U P P L I E S CLAYS • TOOLS • GLAZES RAW MATERIALS KILNS • WHEELS Richland Ceramics PO. Box 3307 Columbia, S.C. 29203

Please Mention C M when writing our advertisers

Sold only by

Author i zed Dea lers

1147 E. Elm W. P. DAWSON, INC. Fullerton, Calif. 92631

rE compact ~

"OUAO MIRE"I I POTTER'S W H E E L ~

¢149, P VIliCOOVE° I ° C CANAOA 1 ~ ' ~

SPAREX Pickling Compounds

When ;nstruct;ons coil for sullur;c

acid, use SPAREX . . . the SAFE

replacement [or the dangerous

acid.

Order tram your supplier

O U I M B Y & C O M P A N Y 60 Oakdale Road, Chester, N. J. 07930

36 Ceramics Monthly

The Supp ly House for the

Creative Ceramist

H a n d M o d e l i n g

S c u l p t u r i n g

T h r o w i n g

~ Tools - Glazes

C lays - K i ln s

Midwest Ceramic Cen te r

722-728 Sou thwes t Blvd.

K a n s a s City, Mo. 64108

Art -Craf ts Supplies, Inc. 235 N.E. 67th St. Miami, Fla. 33138

Distributor for:

PARAGON Kilns • DUNCAN, SYMPHONY, C E R A M I C H R O M E and DRAKENFELD MARX Brushes • JACQUELYN Stains

Ld, L K I L N S • . . t h e most c o m p l e t e l i n e !

The only kilns with patented DYNA-GLOW elemenf holders. Write for information. L and L MANUFACTURING CO.. Box 348 144 Conchester Rd., Twin Oaks, Po. 17104

KRAFT KORNER 5842 Moyfield Road, Mayland Annex

Cleveland, Ohio 44124 Phone (216) 442.1020

"EVERYTHING for the ENAMELIST" Klyr Kate and Klyr Fyre

Decoupage Headquar te rs - - Painting Supplies

Catalog $1 (refunded with $10 order)

ONE-STOP CERAMIC SERVICE

Central New York Ceramic Supply

213-215 Second St.

LIVERPOOL, NEW YORK 13088

WIDE RANGE OF LOW-FIRE AND STONEWARE CLAYS Write for samples, descriptions and prices.

CASTLE CLAY PRODUCTS Rf. 2, P.O. Box 157, Castle Reck, Colo. 80104

iNTRODUCING S L A B ~ ~

Greatest innovahbn since the wheel A new concept in symmetrical slab building. Rugged plast c guides create angled walls, maintain round, and aid n cut- ling desired circumference lengths, Illustrated instructions,

A Creative Teaching Aid, Fast, Economical BASIC Bo'n'LE 100 2½, 3½, 4½ & 5½ in.dia #200- - Mug, An almost infinite variety cup, susar and of bottles, pots, pitchers, creamer only

. . . . $1,25 p, pd.

5% sales tax. Orders shipped Srd class. For 1st class add 10¢ each item.

SLAnonArr 5927 Santa Monlca Blvd., Los Angeles, Cal. 90029

I T I N E R A R Y Continued [rom Page 36

Toledo Glass National; at the Toledo Museum of Art.

ONTARIO3 BURLINGTON

October 23-24 Exhibit and sale by members of the Artisans Guild of Hamil- ton (formerly the Hamilton Handicrafts Guild) will be held at the Royal Botan- nical Headquarters Building, 680 Plains Rd. West.

ONTARIO, TORONTO

October Ceramics by Jack Sures, Sas- katchewan; at the Canadian Guild of Potters.

OREGON, PORTLAND

through October 5 "140 Years of Dan- ish Glass," circulated by the Smithsonian Inst i tut ion; at the World Affairs Council of Oregon, Inc.

through October 5 Work from the Permanent Collection; at the Contem- porary Crafts Gallery.

October lO-Novernber 2 Glass by Rus-

sell Day; at the Contemporary Crafts Gallery.

PENNSYLVANIA, PHILADELPHIA

October 3-27 Members" Exhibition by the Philadelphia Council of Professional Craftsmen: at the Art Alliance.

PUERTO RIco, ~IAYACUEZ

through October 10 Ceranlics and Graphics by Picasso: :it the University of Puerto Rico.

SOUTH CAROLINA, COI.UMBIA

October 23 Lecture, "The Craftsman's Role--Classical to the Present," by Don-

aid Wycoff: at the Cf4umbia Museum of Art.

TENNESSEE, GATI,INBURG

October 22-26 The Craftsman's Fair of the Southern Highlands, sponsored by the Southern Highland Handicraft Guild: at the Auditorium.

TEXAS, DALLAS

October 23-November 24 "Southwest Craftsmen 1968," competitive regional show; at the Dallas Museum of Fine Arts.

WASHINGTON, SEATTI,E

October 24-November 24 "Chinese Treasures from the Avery Brundage Col- lection," at the Seattle Art Museunl.

WISCONSIN, MILWAUKEE

October Wisconsin Designer-Craftsmen Traveling Exhibition: at Alverne College.

Oscar-Paul PROFESSIONAL

POTTER'S WHEEL

" Variable speed (19-155 RPM)

" Full torque "Satell i te Dr ive"

• Quiet operat ion

• Compact size & light weight

• Floor space - - 2 sq. ft.

• Opt ional table tops (flat or splash pans)

• Smooth & uniform drive

Potters and Dealers . . . write for more information and prices.

OSCAR-PAUL CARP• 522 W. 182 St., Gardena, Calif. 90247

n o w available

CATALOG #9

This new 64-page ca ta log l is ts e v e r y t h i n g you need - - a complete line of kilns, glazes , tools plus genera l s u p p l i e s and equipment , wi th m a n y new i tems added. Hobbyis t s , teachers, dealers , and studio po t t e r s will f ind the ca ta log invaluable.

Send 50c for New Catalog # 9

TEACHERS NOTE: This new catalog is sent FREE to schools, institutions and c ra f t shops.

Van Howe Ceramic Supply

1185 S. Cherokee, Denver, Colo. 80223

October 1968 37

CRAFTSMAN... FAIR

OF THE SOUTHERN HIGHLANDS

JULY 15-19 Asheville, 19. C.

OCTOBER 22-26 Gatlinburg,•Tenn.

For folder, write: ~RAFTSMAN S FAIR

Box'.9145 Ashevitle~ N~ C.. 28805

S0tF[HERN Ht(;HLAflD HANDICRAFT • " . -. : :i~

C R A F T STUDENTS

LEAGUE Y W C A

840 8th Ave. af 51st, N .Y . (212) 246-3700

C E R A M I C S SCULPTURE

LIFE CLASS

(Clay, Terra Cot ta )

IMen, Women Teenagers. [Day, Evening, Ca ta ocj C.

" T E N Y E A R S O F P O T T E R Y I N N E W Z E A L A N D "

the story of the growth of the pot- "tery movement and of the people involved in it over the past ten years.

by Helen Mason for 9 years Editor of the magazine "New Zealand Potter".

Copies may be obtained from: Mrs. Helen Mason, West Coast Rd., Henderson R.D. 1, New Zealand Enclose Two (2) dollars U.S.

The Famous KLOPFENSTEIN

POTTER'S WHEEL Wrife for FREE Information

H. B. KLOPFENSTEIN & SONS RFD. ~2 Dept. A Cresfline, Ohio 44827

You owe if to yourself to get our story before you buy any kiln.

Aim for an A I M Kiln

CERAMIC KILNS Hiwuy 9 & Brookside

Ben Lomond, Calif. 9500S Mull Address. P.O. Box 414C

S T A C K I N G

Continued from Page 18

can check the effectiveness of a support by gentle pressure against its side. If it is stable or turns like a chair rung, it's doing its job. If it waves back and forth, it's just using up valuable space for nothing.

The shelves must be cleaned of old glaze drippings, then coated with kiln wash. Most drippings can be chipped off with a chisel. Stand the shelf on one end or side as near the verticle as practicable. The shelf must be supported against a wall in such a manner that the entire edge is resting against the wall. The entire bottom edge must be resting on the floor. Ttle force of the chisel blow must be as near parallel to the shelf as possible. If done in this manner , the force of the blow is transmitted to tile floor through the edge that is resting on it. Care must be taken that the shelf is not knocked off balance; if it is, it will fall forward and break on the floor. This nlethod of cleaning shelves results in fewer broken shelves than any other method.

If low-fire glazes get into a high- temperature firing, the glaze will eat through the kiln wash and into the shelf. Some of this material can be chipped off, and some can be ground off with a silicon carbide grinding wheel. If most of it is not removed, it will bubble up through the kiln wash every time the shelf is used in a high-fire kiln.

A simple kiln wash formula con- sists of 50% kaolin (china clay) and 50% silica (fl int) . The consistency I like is obtained by using 2150 c.c. (2 quarts and ½ cup) water. Sprinkle 1200 grams E P K kaolin on the water; sprinkle 1200 grams silica on top of that. If left undisturbed unti l all the material slakes into the water (10 minutes or longer) , the kiln wash can be stirred by hand and will not need screening.

The kiln wash may be applied with a large pain t brush. Two thin coats, with drying time in-between, is better than one thick coat. After coat- ing the shelf, scrape any kiln wash from the edges and underside of the shelf so it won ' t drop on something below during firing.

Don ' t set greenware on a freshly washed shelf and fire it right away. The clay will suck up moisture from the kiln wash and need addit ional drying time.

Advertisers Index

October 1968

AIM Kilns . . . . . . . . . . . . . . . . . . . . . . . . 38 American Art Clay Co . . . . . . . . . . . . . . . 8 Anderson Ceramics Co . . . . . . . . . . . . . . . 35 Art-Crafts Supplies, Inc . . . . . . . . . . . . . . 37 B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . . 4 Burt, W. D., Mfg. Co . . . . . . . . . . . . . . . 36 Campbell, Gilmour . . . . . . . . . . . . . Cover 3 Capital Ceramics . . . . . . . . . . . . . . . . . . . 36 Castle Clay Products . . . . . . . . . . . . . . . . 37 Central Ceramic Art Supply . . . . . . . . . . 35 Central New York Ceramic Supply . . . . 37 Craftool Co . . . . . . . . . . . . . . . . . . . . Cover 4 Craft Students League YWCA . . . . . . . . 38 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 34 Dawson, W. P . . . . . . . . . . . . . . . . . . . . . . 36 Duncan's Ceramic Products . . . . . . . . . . 3 Estrin Mfg. Co . . . . . . . . . . . . . . . . . . . . . . 36 Francoise Ceranfics . . . . . . . . . . . . . . . . . . 36 Gare Ceramic Supply Co . . . . . . . . . . . . . 35 House of Ceramies . . . . . . . . . . . . . . . . . . 4 Kemper Mfg. Co . . . . . . . . . . . . . . . . . . . 7 Kinney, Kay . . . . . . . . . . . . . . . . . . . . . . . 36 Klopfenstein, H. B. & Sons . . . . . . . . . . . 38 Kraft Korner . . . . . . . . . . . . . . . . . . . . . . . 37 L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . 37 Mason, Helen . . . . . . . . . . . . . . . . . . . . . . 38 Mayco Colors . . . . . . . . . . . . . . . . . . . . . . 11 Midwest Ceramic Center . . . . . . . . . . . . . 37 Minnesota Clay Co . . . . . . . . . . . . . . . . . . 34 Ohio Ceramic Supply . . . . . . . . . . . . . . . 35 Oscar-Paul Corp . . . . . . . . . . . . . . . . . . . . 37 Paragon Industries . . . . . . . . . . . . . . . . . 6 Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Pottery by Dot . . . . . . . . . . . . . . . . . . . . . 35 Quimby & Co . . . . . . . . . . . . . . . . . . . . . . 36 Reward . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Richland Ceramics . . . . . . . . . . . . . . . . . . 36 Rovin Ceramics . . . . . . . . . . . . . . . . . . . . 8 Shimpo-West . . . . . . . . . . . . . . . . . . . . . . 9 Slabcraft . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Southern Highland Handicraft Guild. . . 38 Tepping Studio Supply Co . . . . . . . . . . . . 36 Thompson, Thomas C., Co . . . . . . . . . . . 5 Trinity Ceramic Supply . . . . . . . . . . . . . . 35 Unique Kilns . . . . . . . . . . . . . . . . . . . . . . . 35 Van Howe Ceramic Supply . . . . . . . . . . . 37 Vars, D. M . . . . . . . . . . . . . . . . . . . . . . . . . 34 Walker Jamar Co . . . . . . . . . . . . . . . . . . . 36

Back Issues The following back issues of Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 4% sales tax). We pay postage. 1956 August 1958 June, 1960 December 1961 December 1962 Janua ry (9-year Index issue), February,

May, June 1963 June 1964 February, November 1968 June Please send remittance (check or money order) with list of issues desired.

CERAMICS M O N T H L Y

4175 N. High St. Columbus, Ohio 43214

38 Ceramics Monthly

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

KINGSPIN Electric Potter's Wheel New Large Wate r T ray

A N e w P r o f e s s i o n a l W h e e l a t a P r i c e y o u can a f f o r d • M o r e p o w e r f u l • Easy t o Use • Ba l l B e a r i n g s • Easy t o C l e a n • Easy t o S t o r e SPEED VARIES w i t h f o o t p e d a l ~ s m o o t h as an a u t o m o b i l e . PORTABLE ~ c a r r y i t w i t h y o u a n y w h e r e . Ba ts f i t o u r h a n d w h e e l s ~ e a c h s t u d e n t m a y h a v e his o w n b a t a n d p l a c e i t on t h e h a n d w h e e l w i t h o u t l os i ng c e n t e r . 110 V o l t A C . DC. O n e y e a r s e r v i c e w a r r a n t y .

M o d e l E-6 $119.50 Jack Wolfe, our N.Y. distr;butor. shows how to throw pots begger than the machine.

KINGSPIN Electric Banding Wheel t Heavy Kinalloy 7-1nch table • New - - with height tr immer • Solid cast aluminum case • 110 volt motor, 25 RPM • On & Off switch, 8-ft. cord • One-year service guarantee

Model E2T $22.95 Mode l E-2 less t r immer $19.95 Also Model E-3T with heavier motor (35 RPM) for light fhrowincj . . . . . . . . . . . . . . $26.50 Model E-3 less tr immer $23.50

KINGSPIN Potter's Hand Wheel

With Height Trimmer Rest tools and brushes on the height t r immer ~ results wii i amaze you.

Wheel only . . . . . . . . . . ~ 6 . 0 0 [7" Aluminum Model K-7)

Wheel with Trimmer Model KT-7 . . . . . . . . . . . . . . S7,00 Wlth 7" heavy Kinalloy table Model KH-7 . . . . . . . . $8.00 With 8" heavy Kinalloy table Model KH-8 . . . . . . . . $9.25 Bats recessed for 7" . . . $ .85 Bats for 7" & 8" . . . . . . . . $1.00

KINGSPIN STEEL WHEEL • Our Economy Model • Kin- alloy Bearing • Knurled Stem • Easy Spinning • Zinc Plated ~Rustproof • 7 " Steel Top & Bottom • Highest Quality • Low Price.,

Model S only $ 2 . 9 5

Also available with cast aluminum head [Model SA) . . . . $3.95

KINGSPIN Wheel

NEW with Wagon Wheel Base t Top and base are cast Kinalloy • Top measures 61/4" • Shipping weight 3 Ibs.

Model W-6 only $3.95

KINGSPIN Kin01ite Turntable New 12-inch model with many uses • A 12-inch wheel for the price of an 8-inch • Made of KINOLITE ~ latest sinktop material used in newest homes • Heavy Kinalloy round base • Just the thing to use for those lace dolls.

Model T-12 $6.95 Wlfh 12-~nch Aluminum Table (Model A-12~ . . . . . . . . . . . SI4.95

KINGSPIN Lowboy Steel Wheel • Our Economy Model • Kin- alloy Bearing • Easy Spinning • Zinc Plated.Rustproof • 7" Steel Top & Bottom • Highest ~)uality • Low Price

Model S-C o.ly $2.95 This new model may be used as a mold stand, for clay modeling or as a decorating wheel in spray booth.

E ~ ~ . . . . ~

Prices F.O.B. Detroit

See your Dealer or Distributor or write: IR C A M P B E L L :iden, Detroit, Michigan 48213

In C a n a d a write: V i l l a g e C e r a m i c Studio

4943 Dundas St. . W e s t . I s l l a g t o L Ont .

M o d e l 2 1 7 7 _

with variable speed

' i

THIS IS CRAFTOOL'S BEST...the finest, practically indestructible, VARI- ABLE SPEED potter's wheel you can buy!

Completely assembled when shipped.., no stands, wiring or benches . . . just plug in the powerful V2 HP, 120 V, AC motor and you're ready to create pottery!

Heavy bolted legs are adjustable and have inserts to dampen vibration.

Easy, smooth speed changes from 0 to 160 RPM without sudden jolts are perfect for learning the elements of pottery throwing. The 12" throw. ing head is of cast aluminum, marked with centering circles and reversible for use with plaster bats.

Comes complete with heavy gauge aluminum splash pan, removable posts for accessories, adjustable hand rest, wedging wire and stainless steel water pan. Overall height is 40" with accessories and requires only 26" diameter floor space. The ideal compact wheel designed expressly for studio and school use.

THE CRAFTOOL C O M P A N Y 1 INDUSTRIAL ROAD, WOOD-RIDGE, N.J. 07075

" 'Craftools for the Creative Crafts ""

m n m ~ E n m ~ m m ~ m m m m ~ m

The Craftool Company, Dept.¢M-lO 1 Industrial Road, Wood-Ridge, New Jersey 07075

Please send your FREE CERAMICS-SCULPTURE CATALOG of wheels, equipment and supplies with set of four Ceramic Charts.

Name

Address /

City State Zip / s

J

t ~ ~l~ ~¸ - ceramic arts network · free-blown and trimmed decanter of distinctive surface...

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